Some days, monkey winds himself up like a clockwork mouse. Other days he rolls over and over with a key in his back like a clockwork cat.
Monkey is growing old and forgetful. He forgets where he has hidden the key, pats his pockets, and slows right down before he eventually finds it and winds himself up again.
One day, monkey leaves the key between his shoulder blades in the middle of his back.
All day long, the temple monkeys play with the key, turning it round and round, and winding monkey’s clockwork, tighter and tighter, until suddenly the mainspring breaks
and monkey slumps at the table no energy, no strength, no stars, no planets, no moon at night, the sun broken fatally down, the clockwork of his universe sapped, and snapped.
Comment: Monkey Temple is A Narrative Fable for Modern Times written in verse. The poems show strong links to Surrealism and Existential Philosophy. They portray the upside-down world of Carnival and out line Monkey’s Theory of the Absurd in a dystopian world that mirrors that of George Orwell’s Animal Farm, LaFontaine’s Fables, the esperpento of Valle-Inclan, and the witty conceptismo of Francisco de Quevedo. This is a walk through the jungle of the Jungian innermost mind. But watch out for those monkeys: they bite.
Black umbrellas burgeon beneath sudden rain. Waterproof cloth opens to provide protection. Churches fill with defenseless passersby.
The cigarettes they smoke flare shooting stars through finger bars of flesh and bone. After the rain, gypsy women flower in the street.
Carnations carve wounds in their sleek, oiled hair. They offer good luck charms and fortune telling.
“Federico! Federico,” the gypsies cry out, “tomorrow, the guards will take you from your cell. They will drive you to the hills and shoot you dead.”
“Tonight,” Federico replies, “I’ll paint the city red. And tomorrow… ” “Tomorrow,” the gypsies sigh, “the Alhambra’s walls will run red with your blood.”
Comment: I have made some minor changes to the sonnet that was published in Iberian Interludes (available online at this link) The sonnet is a Golden Oldie, going back to our visit to Granada in 1986. I asked my pre-teenage daughter if she would like to go to a country where there was no snow in winter. She laughed at me. “Don’t be so silly, dad, there’s no such thing as a winter without snow.” We got to Madrid on January 5 and awoke to 3 inches of snow on January 6. “There, dad,” she said. “Told you so.” We took the train down to Granada and that year they had six inches of snow in the city center, for the first time in forty years! It also rained, and this is a poem about the Granada rain.
Closed and Open Images Wednesday Workshop 28 July 2021
A closed image is one that leads the reader in a specific direction and offers a fixed vision of the world. For example, “White moths wing their snow / storm through the night” (Cage of Flame, below). One summer evening, a long time ago, when I was in Chatham, N.B., now Miramichi City, I saw white moths swarming beneath a street light. The air was thick with them and they circled and dazzled like falling snow. A reader may not catch this image first time through. However, after a couple of readings and a little thought the image makes perfect sense. Now add the personal dimensions. Have you had a similar experience? What associative fields do you structure around white moths > wing > their snow storm >? This is where the image opens up and becomes more personal. You may not have been in Chatham that night, but you may well have experienced something similar.
An open image is one that leads you outwards into your own world. “Now you are a river flowing silver beneath the moon” (Cage of Flame, below). Now the image is more open and asks questions of the reader. Who is the you referred to in the second word? Is it the reader? Is the narrator speaking to a third person? You are a river: how can a person be a river, more, can we be sure this you refers to a person? What else could it refer to? You are flowing silver: there is no sense of concrete meaning here. This is not a piece of information to be processed as you would process a headline in the newspaper (print or digital). What does it mean? I don’t know but, as Salvador Dalí said of one of his own paintings “I don’t know what it means but I know it means something.” And that something is the essence of poetry. That one word, river, will conjure up different images for each individual who reads the poem. River: which river does the poet mean? Is he referring to the Miramichi, the St. John / Wolastoq (Wəlastəkwewiyik means “People of the Beautiful River,” in Maliseet), the Thames / Támesis (to the Spanish who lived in London in 1560-1580), the Severn / Sabrina (to the Romans who invaded Britain in 55-54 BC) that divides Wales from England? And what happens when we restore the old names to the rivers that former generations, some of them our forefathers and foremothers named? How does it change our picture of the permanence of rivers and the impermanence of names and people?
Metaphors are always hard to understand. This is because they have no exact meaning and vary with each reader. Take a metaphor like icy fire. We know that ice can seem to burn the skin, but what does icy fire mean? Think of those drawings in which a vase becomes a face and the face metamorphoses into in a vase. Most people can see each image separately, but it is difficult to hold both shapes in the mind’s eye at the exact same time. The image flits between them with the result that the reader’s determining mind, the one that yearns for le mot juste, the exact meaning of words, is trapped between two mirrors and moves from the one to the other without being able to settle on either. This is what happens with metaphoric meanings: a flickering between the different terms of the metaphor and an inability to settle. Take this couplet, for example: “there is nothing so hot as the female desire, / as cold as new snow yet it burns you like fire” (In Praise of Small Women, El Libro de Buen Amor, Arcipreste de Hita, circa 1283 -1350, my translation). Such metaphors have been around for a long time, as has the juxtaposition between hot and cold, the Petrarchan ice and fire, used as a poet’s description of lovers.
No, poetry is not, definitely not, an exchange of information. It is more an exchange of dreams, cultures, multiple meanings, each constructed, de-constructed, re-constructed in the space between the minds of reader and writer. A poetry book is very similar to a river. You must take it on its own terms, adapt to it, work with it, run your fingers and hands in its waters, paddle in it, swim if you want to. You must do all of this on your own terms and in your own way. Whatever you do, don’t, don’t get out of your depth. And please, please, don’t let yourself drown. Just lay back on the water, look at the clouds in the sky, choose the ones you want to follow, and float a few minutes of the day away.
Just one leaf dropping from the tree and the fall a call of nature and no freak chance of fate. What throw of the dice eliminates Lady Luck? None at all, or so the poet says, lying there, indisposed, his ribs cracked hard against the wooden boards of the porch and his right foot caught in such a way that the hip slips slightly from its socket and try as he may he cannot stand but lies there in the chill evening wind, a lone leaf, getting on in age, plucked from his tree and cast to the ground.
Comment: And don’t forget the family of crows, sitting in the tree, giving me the eye. watching every movement. I half expected them to flap down on to the balcony, and take a closer look, but when I started to move, it was game over, Rover, and they all cawed and flew away.
Dear reader who reads my poems: sometimes I say what I do not mean to write and write what I don’t mean to say. Rhymes
make things clearer, for I puzzle what I might say, and plan ahead so an awkward word will not intrude. Words, birds in flight,
bright as postage stamps across the absurd white snow of a page or a digital screen. When I think about it, I assume about a third
of what I say, I really mean. Who has seen the early morning wind drifting our thought-cloud across the lawn, moving shadows cast on green
blades of grass, as we think our thoughts aloud, each thought a pea in a pod, as some we clasp between finger and thumb while others crowd,
and the loud, uneasy word slips from our grasp to wound or injure or otherwise to hurt and maim. It’s not my aim to do this. My word is not an asp
or a viper or a screw to be driven. I lay no claim to hurt and yet sometimes a word slips sideways and does not say what I mean it to say. I aim
to please, to tease, to provoke, in so many ways and yet I often hurt where no hurt is intended. If I have done you wrong and my word displays unintended ends, forgive me: let all rifts be mended.
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Vets A Thursday Thought
Mary Jones
I met her unexpectedly in a restaurant in St. George. I was masked, but she knew me right away. She hadn’t changed. How could she have? She is as she is. Straight forward, upright, honest, true to her words and her values. Ex-military. A United Nations Peace-Keeper. A Blue Beret. World traveller to some of the roughest, toughest, ugliest, craziest spots. Everywhere she went, she helped keep the peace.
She came back home to find out what she already knew: that rural New Brunswick was as wild as anywhere she had been. She was anonymous, here, was just another number in a book, a casualty in a nameless war of attrition after which the winners rewrite the history of events, twisting them this way, that way to suit themselves and their own instincts and interests.
“Best of the best,” I wrote in the book I gave her. Fortuitous, it was, finding her again, finding that copy close to hand, reserved for her alone. That book and this poem are my tribute to her for her courage, her fortitude, and her strength of will. They are also a tribute to her role in making the world a safer place in which others, less fortunate, can create, without fear, their lives.
Comment: There is very little more to be said. Each former soldier is an individual with a history and personality of their own. This is my tribute to a very good friend who served her country and the United Nations Peace Keeping Forces with pride and distinction. Mary Jones, I, an academic, a writer, and a non-combatant, salute you for all the positive values which you have brought into this sometimes troubled world of ours. You and your well-being are in my Thursday Thoughts.
The Nature of Art and the Art of Nature is a book of poems each one of which celebrates humanity’s relationship both with the natural world and the way that world is recreated by artists in so many different forms. In order to read these poems and receive full value from them, it would help to know how to approach them.
Preparing to Read
First, de-clutter the mind. Poetry cannot be hurried or rushed. Remember, it is better to read one poem a hundred times than to read one hundred poems once. Prepare yourself mentally and physically for your reading. Sit down. Make yourself comfortable. Close your eyes. Concentrate your mind on something you find peaceful: a sail on Passamaquoddy Bay, a rose in Kingsbrae’s Rose Gardens, a butterfly in the Butterfly Garden, or a fine white cotton cloud in a cerulean sky. Breathe in and then breathe out. Now slow your breathing down. Breathe in, count up to four, slowly, breathe out, counting up to six. Breathe in, count up to six, slowly, now breathe out, counting up to eight. Breathe in, counting up to eight, and breathe out, also counting up to eight. How long will you sit there? When your breathing has slowed and your mind is clear, you will be ready to start. You will know when that is.
Open your eyes. Take your book and begin to read. Don’t start on page one and rush through. Dip in, here and there, find a title or a first line that you like, and read that poem. Read it two or three times. Then move on, randomly to another poem. Select individual lines, phrases, sentences. Savour the words. Roll them around in your mind. Read them to yourself, quietly. Then read them out loud. Try to capture their essence, their rhythms. Taste them, as you would a fine Spanish Manzanilla wine. Select another word, another line, another poem. Seek and you will find some sequence that you like. Return to it often.
Comment: I will restart my Wednesday Workshops. The Nature of Art, the manuscript on which I am currently working, has an Introduction on The Nature of Poetry. I will put this up in installments. The handwritten opening page comes from an online video on Creativity and Writing Poetry during the Pandemic. This poetry video is the first one in the series. Click here for link. Other workshops on writing can be found by searching Writing Workshops on the Blog search (top right hand corner) or by going to this link Poetic Creativity and Thoughts on Writing
She is an oyster, silent at low tide, yet with a host of pearls waiting inside her, ready to be released. When set, she will release those pearls herself, stringing them together, like Chantal’s beads, into a skein of meaningful, enigmatic moments.
Enigmatic, yes, but, like Elgar’s Enigma Variations, a Russian Doll puzzle of secrets and intrigue. Comic book artist, she evolved to graphic designer, then multi-tasked first to Kinetics, and then to a painter who reaches out in empathy to the world around her.
For her, all art is linked and communications are key, on many levels. Visualization. Achievable goals. A step-by-step process with each step foreseen, planned beforehand, and each step always taken with an open mind that accepts the true response, leaving falsehoods behind.
Kinetics, yes, but she is above all a loner. Kayaking. Hiking. Weight-lifting. Yoga. Meditation. Mindfulness. Caring. Sharing. She sends me her web page and I am blown away by her empathy with birds and the natural world, that world her oyster and her, an oyster in that world.
Comment: This particular bird visited our Mountain Ash in the garden at Island View. Kaitlin saw my photo and asked if she could paint it. I sent it to her, and this is the result. Wild life to Still Life to art and never Nature Morte! Together, Kaitlin and I have preserved forever the surprise visit of this beautiful bird.
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Sculptures in the Gardens
It’s the only sculpture garden in Canada. It may even be the only one in the world in which the sculptures shake off their shackles and come alive at night when the moon hangs heavy in the sky and shifting shadows prowl beneath Kingsbrae’s trees. Deadly nightshades, roaming with no thought for the humans who walk around by day taunting these sculptures, thinking they are lifeless, mere images set in stone.
Beard not the lion in his den, nor the fox running wild, nor the chubby bear whose clumsy run belies his speed and strength. The dragon opens iron wings, but beware of the hot forge lodged in the snap-dragon’s mouth.
Have you seen the cerulean whale, marooned and ship- wrecked on these foreign soils? Once upon a time, in a fairy tale, he roamed the seven seas and plundered men and ships with abominable ease. Ease and the easel, plein air paintings, sculpture portraits taken from life and converted to a ship’s canvas that will never sail.
Ask not who is that bearded man, for he might be the one Don Juan invited to supper. Ah, the hard rock ship-shock when with a thunderous knock he arrives, an unexpected guest, at the coward’s door. And shake not his hand lest his fearsome grip turn you to stone or drag you down to hell.
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