Diane di Prima: Compassion

Photo by Bob Wilson

Bob Arnold of Longhouse has passed along the information that Diane di Prima is in dire need of help with medical bills.  Here is information from Michael McClure:

Diane is suffering with several painful and even life-threatening illnesses, including removal of all teeth, arthritis from her earlier back operation, extreme problems with glaucoma and a needed operation; but that’s just the top of the list. Despite all, she is in unexpectedly fine spirits. If you know of any way to help her, she would appreciate it and I would also.

This post from The Poetry Foundation gives more information.   A webpage has been set up on Giving Forward to make donations for Diane.  I've dug deep to help out; Diane has been so incredibly generous with her work in tiny Lilliput Review.  We all know how badly the healthcare system is broken and how well the profession of poetry pays.  As of this writing, in a short amount of time, over $15,000 has been raised of the projected goal of $20,000.  Even as a few bucks is a big help.

If you can help, please do.  Thanks for taking the time.

got in & now it's not so easy
to get out, huh, Bee?
Same for you as for me.

     Diane di Prima
     (from Seminary Poems)

best,
Don

for the poor
there's not a spring
without blossoms!

   Issa  
   translated by David G. Lanoue

best,
Don

PS. Get 2 free issues. Get 2 more free issues

Lillie poem archive

Send a single haiku for the Wednesday Haiku feature. Here's how.

Go to the LitRock web site for a list of all 129 songs

Bob Arnold: Forever

Cover of Bob Arnold's Forever

 

Two little beauties from Bob Arnold's new tiny little booklet, Forever.  The handmade paper cover, delightful photos, illustrations and fine poems comprise a production any small press maven might envy (and collector might covet). I don't see it mounted up on the Longhouse website  (oh, here it is)yet, so if you are interested, drop Bob a line at <poetry at sover dot net>, substituting @ for at, and . for dot.

The First Step To Independence

Breaking worse
what you try
to fix

Tobacco Road

what a corny
film

and how
I can't

forget the
old fella's

sadness

                                                       Bob Arnold









my eternal youth ornament--
just three cents
of emperor's pine

     Issa
     translated by David G. Lanoue

best,
Don

PS. Get 2 free issues. Get 2 more free issues

Lillie poem archive

Send a single haiku for the Wednesday Haiku feature. Here's how.

Go to the LitRock web site for a list of all 129 songs

Ryokan, translated by Dennis Maloney

Bob and Susan Arnold of Longhouse Publishers have been issuing a delightful series of accordion-style fold out mini-booklets for quite sometime now, some of which I've taken a look at here at The Hut. Dennis Maloney, of White Pine Press fame, is a longtime Lilliput contributor, whose 4th chapbook in the Modest Proposal Chapbook series, a volume of Yosano Akiko translations, will be coming out sometime in June (along with 4 delayed issues of Lilliput Review). Previous chapbooks were Dusk Lingers: Haiku of Issa, The Unending Night: Japanese Love Poems, and The Turning Year: Japanese Nature Poems, the later two of which come from the famed 100 Poems by 100 Poets classic volume of Japanese poetry.

So it is with some delight that Dennis's volume of Ryōkan poems has arrived from Longhouse. And who was Ryōkan you might ask? According to the "New World Encyclopedia" site:

Ryōkan (良寛) (1758-1831) was a Zen Buddhist monk of the Edo period (Tokugawa shogunate 1603-1864), who lived in Niigata, Japan. He was renowned as a poet and calligrapher. He soon left the monastery, where the practice of Buddhism was frequently lax, and lived as a hermit until he was very old and had to move into the house of one of his supporters. His poetry is often very simple and inspired by nature. He was a lover of children, and sometimes forgot to go on his alms rounds to get food because he was playing with the children of the nearby village. Ryōkan was extremely humble and refused to accept any official position as a priest or even as a "poet." In the tradition of Zen, his quotes and poems show that he had a good sense of humor and didn't take himself too seriously. His poetry gives illuminating insights into the practice of Zen. He is one of the most popular Zen Buddhists today.

Over at Wikipedia, there is a bit of a dust up over the Buddhist monk part, but no doubt it isn't anything the poet himself would be much concerned about. There are, after all, poems to write, sake to drink, and life to be lived.

The Longhouse booklet, consisting of 2 minutely folded sheets contains an astounding 47 tankas, is divided into the four seasons. Ryōkan's simple message shines through poem after poem in translations with a direct clarity that mirror that basic philosophy. Here is a couple of samples to tempt you over to the Longhouse site for this tasty little booklet and lots more besides:

In the garden – just us
a plum tree
in full blossom
and this old man
long in years.

I'm sure there is more but what I think of first is how the old man's years seem so very like the plum tree's blossoms.

What shall remain
as my legacy?
The spring flowers,
the cuckoo in summer
the autumn leaves.

At once in this beautiful tanka, there is the Buddhist sense of oneness and perhaps a touch of the fact that we are all reincarnated a bit in what's is all about us. At least that's what I'm hoping when some of my ashes end up in the garden, some more in the river, and most of the last bit in the bay back home.

Ryōkan too
will fade like
the morning glories.
But his heart
will remain behind.

See previous comment ...

Deep snow outside
bundled up
in my solitary hut
I even feel my soul
slip away as dusk gathers.

The quiet beauty of these verses pervades one's spirit as the experiencing nature does. Not much exegesis, though perhaps there could be some, but let it rest: let me take in the rose rather than pluck its petals.

------------------------------------------

This week's feature Lilliput Review broadside is #80, from June 1996, entitled spectacles of poverty by scarecrow.

what is meant to be seen and heard
will be seen and heard
the blue of the sky
through a fly's wing
walking on my window
into a cloud.
in the shape of constant sorrow

how much the poem cannot carry
when you're the only one
there
to witness the pine cone falling.

the camera composed of metal taken from the ore
taken from the stone
beneath the grass
in the meadow
where the lion once slept
in the picture.

scarecrow

now begins
the Future Buddha's reign...
spring pines

Issa
translated by David G. Lanoue

best,
Don

PS Ed Baker has tipped us to an interview with Dennis Maloney which is a delight so I'll append it after the fact. All thanks to the bard of Takoma Park.

Jim Carroll by Tom Clark

Photograph by Mary K. Greer

One of the finest artist produced blogs on the net is by the great poet, Tom Clark. Beyond the Pale serves as a model for poets and writers wishing to produce content and extend the dialogue of author/reader beyond the printed page into the much vaunted digital world. The net is not a source of promotion for Clark, as the book before it was not the point of writing; it is the connection of one mind to another or, in the case of writers, many others. I, as a reader, like to think of the experience as one on one, poet and reader, one at a time.

The line may be long, but the poet will get to you eventually.

Back on September 11th 2009, when the poetic/writing community lost Jim Carroll, it hit a particular segment very hard. Disbelief, as it always is with untimely death, was the predominant reaction. One looks around, shakes one's head, tries to get mind around the idea of death. Grief prompts something like an irrational, inconsolable searching. We've all been there, with those closest to us to those we "know," share a deep kinship with, through their work.

It is significant that we characterize this type of kinship with the feeling of having been "touched"; I was deeply touched by the work of Jim Carroll. And for others, like myself, who went looking for an "explanation," or that other type of kinship, shared mourning, we found something profoundly moving.

We found Tom Clark on Jim Carroll.

Back in September, on the 14th, a mere 3 days after Jim's passing, Tom Clark posted his memories of Jim. Somehow, his glimpses into the life of Carroll were just what folks needed to hear. The few scenes were significant, sketched as they were by his friend Clark, a powerful memoirist. Those glimpses, with a touch of poetry by both poets, began a healing process for a community of readers who had always felt that Jim was close to them in spirit.

I'm happy to say, though blogs come and go as quickly as the seasons, Bob Arnold of Longhouse Publications has published Tom's post in a little 23 page booklet that, with the exception of a one photo and minus one or two that were on the blog, essentially replicates that post in its entirety.

The handful of tales Clark recounts of Carroll signify. Jim's deep bond with his dog during his protracted period of kicking dope, his reluctance at pickup games of basketball, his reaching out to a woman reading her poetry at a rehab session, all of these moments, though seemingly small details in a much larger life, feel like a full portrait of a poet that many a whole biography might fail to capture. Clark's account of his own distaste for poetry readings quickly dissipates watching Jim reading to a room of 10 fellow recovering substance abusers:

It was totally mesmerizing; I felt privileged, uplifted, and scared. While reading Jim seemed to leave himself and become the conductor of energies from another place. I understood then I was in the presence of a master, his powers palpable yet perhaps beyond the understanding of anyone present.

Jim Carroll fans will always have Living at the Movies, The Book of Nods, The Basketball Diaries, Fear of Dreaming, Void of Course and Forced Entries, as well as his great rock recordings. And now we have this little set of scenes in which Jim comes to life once again in a way that only a friend and master stylist can make happen. Though it might be both premature and presumptuous to think the inevitable full length biography might not capture Jim as well as this short little memoir, it can surely be said that no one will capture the tone and feel of Tom Clark's thoughts on the great Jim Carroll. If you think this is just the publication for you, jump at it since this little booklet is a limited run (see Tom's note about run in comments below) . I know it will always sit right next to Jim's work on the shelf with all of his writings I have on hand.

There is a photo, by Beatrice Murch, that concludes the book and wasn't on Tom's original post [CORRECTION: This photo did appear in Tom's original post. See his comment, below.] It is a photo of a path out in Bolinas just like the ones Clark describes Jim as often traversing with his dog, Jo'mama, all the while wrestling with loneliness and his various demons. Perhaps it is one of the very paths he walked.

A path that is now empty.

The Birth and Death of the Sun

Now the trees tempt
the young girl below them

each moves off the other's wind
endlessly, as stars from the earth,
stars from the stars.

Jim Carroll

Thanks to Bob Arnold for making this available.

And thanks to Tom Clark, for everything.

------------------------------------------------

This week's featured poem comes from Lilliput Review #100, a broadside by Cid Corman entitled "You Don't Say."

Here is a
long way off
and as far
as you'll've
ever got.

Cid Corman

at my feet
when did you get here?
snail

Issa
translated by David G. Lanoue

best,
Don

------------------------------------------------

PS Books mentioned in this post. Support Independent booksellers.

Living at the Movies
The Book of Nods
The Basketball Diaries
Fear of Dreaming
Void of Course
Forced Entries

Chinese Love Lyrics: Moon, Bird, & River

Continuing the exploration of my poetry shelves, the next book I come to is Chinese Love Lyrics, one of those slim verse volumes produced by Peter Pauper Press back in the day. Books from this press were inexpensive ("prices even a pauper could afford") yet at once decorative and, most importantly, often full of classic and unique translations of Asian literature, frequently from Japan and Asia.

Chinese Love Lyrics is subtitled "From Most Ancient To Modern Times," concentrating mostly on the older poems from the time of the Tang Dynasty. The very first in the book is probably the very best:

Spring

If I were a tree or a plant
I would feel the soft influence of spring.
Since I'm a man ...
Do not be astonished at my joy.

Anonymous (1005 A.D.)
translated by Gertrude L. Joerissen

In this surprising little four-line lyric, how far we have become removed from nature is simply and powerful captured. The first three lines imply that people are not affected by "the soft influence of spring," but line 4 quickly pirouettes, revealing undifferentiated joy as just such an affect. Here is another four-line lyric, a poem that in one essential image captures love in all its beauty and transformative power:

Watching the Moon

My beloved knows
that I watch thee, O moon,
And when thy beams caress her,
Our separation is less cruel.

Chiang Che-Kin
translated by Gertrude L. Joerissen

In Chinese poetry, as well as Japanese that was so heavily influenced by it, the moon was a ubiquitous presence, often shining down on lovers separated by great distances, as in this poem. That ubiquitousness is an important spiritual element, grounding humans in the very transitoriness of life and directly connecting us to nature. That it is used in love poetry as a lyrical, romantic facet adds a depth that is is at once essential and resonant.

In fact, this connectedness can be further illustrated by two more of my favorite poems from this particular collection, one using bird song and the other a river as the moon is used in Chiang Che-Kin's poem.

Birds Singing at Dusk

The cool wind of evening
Blows bird-song to the window
Where a maiden sits.
She is embrodiering bright flowers
On a piece of silk.

Her head is raised;
Her work falls through her fingers;
Her thoughts have flown to him
Who is away.

"A bird can easily find its mate
Among the leaves,
But all a maiden's tears,
Falling like rain from Heaven,
Will not bring back
Her distant lover."

She bends again to her embroidery:
"I will weave a little verse
Among these flowers of his robe ...
Perhaps he will read it
And come back again."

Li Po
translated by Peter Rudolph

A River of Love

I live at the upper end of the River,
And at the lower end live you;
Every day I long to see you but cannot ...
Though from the same River we drink.

When will the River go dry?
When can my sorrow come to an end?
Only may your heart be like mine ...
My love for you will not be in vain.

Li Chih-Yi translated by Ch'u Ta Kao

Li Po's poem has the young woman hearing bird song and, with it, her thoughts take flight to her distant lover. Embroidering a little verse, perhaps this very one into her lover's robe is a nice touch by the poet (and his persona), giving one pause over our parochial use of the term post-modern in recent times, as if "modern" culture was the first and only culture to reflect upon itself and its own creations with artistic distance, be it ironic or no.

As the moon's light and the bird in flight connect the lovers in the two previous poems, so the river connects a separated pair. I love the fact that they take life from the same source, as life has always centered around the sources of water. The juxtaposition of the questions of when the River will dry and when will the lover's sorrow end is particularly poignant, equating as it does death with the end of love. Simple a lyric as it is, it returns us to the source of all things, a touching reminder of our implicit involvement with nature which today we push so far from whom we are and what we do.

Finally, one last poem from this lovely collection that may remind you of something a bit more modern than classic Chinese poetry, if a tad short of a ramble in the field of post-modernism.

The Separation

Daylight! And I must leave.
Beloved friend, do not rise!
Give me the little lamp
That I may look at thee again,
That I may pull all of thee into my heart
And into my soul ...

Now, thy lips! I hear the gong
Of the night watchman sounding.
Work leads to evening, and
Each evening brings me to
Thy arms, which are my recompense.

Look! The leaves are covered with pearls.
Of dew....A blackbird is whistling.
Until this evening, adiew

Ma Huang-Chung
translated by Gertrude L. Joerissen

Here we have the lovers, a morning bird, a coming separation, one of the lovers holding back the other ... of course, I'm thinking of one of Shakespeare's greatest scenes:

Act 3, Scene 5

JULIET
Wilt thou be gone? it is not yet near day:
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear;
Nightly she sings on yon pomegranate-tree:
Believe me, love, it was the nightingale.

ROMEO
It was the lark, the herald of the morn,
No nightingale. Look, love, what envious streaks
Do lace the severing clouds in yonder east.
Night's candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops.
I must be gone and live, or stay and die.

JULIET
Yon light is not daylight, I know it, I:
It is some meteor that the sun exhal'd,
To be to thee this night a torch-bearer,
And light thee on thy way to Mantua.
Therefore stay yet; thou need'st not to be gone.

ROMEO
Let me be ta'en, let me be put to death;
I am content, so thou wilt have it so.
I'll say yon grey is not the morning's eye,
'Tis but the pale reflex of Cynthia's brow;
Nor that is not the lark, whose notes do beat
The vaulty heaven so high above our heads.
I have more care to stay than will to go:
Come, death, and welcome! Juliet wills it so.
How is't, my soul? let's talk; it is not day.

JULIET
It is, it is: hie hence, be gone, away!
It is the lark that sings so out of tune,
Straining harsh discords and unpleasing sharps.
Some say the lark makes sweet division;
This doth not so, for she divideth us.
Some say the lark and loathed toad change eyes,
O, now I would they had changed voices too!
Since arm from arm that voice doth us affray,
Hunting thee hence with hunt's-up to the day.
O, now be gone; more light and light it grows.

ROMEO
More light and light; more dark and dark our woes!

This delightful little volume can be found on Amazon, which I don't link to, and there are some slightly more reasonable (and descriptively more reliable) copies at abebooks. Chances are that if you head off to a local used bookstore, if you are lucky enough to have one, and are patient and persistent, a reasonably priced copy will come your way.

And you'll have gone outside! There's a bunch of nature out there, for sure, and more than a few potential poems, both literal and figurative, awaiting your particular attention.



*****************************************************


A couple of quick items: the November/December Small Press Review has selected issue #170 as a featured "Mag Pick" for that issue - as always, back issues are available for a measly $1 or, if it's a tight month, send a self-addressed, stamped envelope and I'll send a copy so you can see what they are on about. For those with a subscription to SPR, you can see their Nov/Dec issue here in pdf form.

In addition, Longhouse Publishers and Booksellers has selected Ed Markowski's broadside "15 Poems" as one of their "Prime Picks" of the last few months. You may see their fine list of choices at their blog, A Longhouse Birdhouse.

Finally, Norbert Blei has highlighted the Ed Markowski broadside on his excellent blog, Bashō's Road: for a taste of the broadside, click here. The broadside is issue #172 (which is still in the process of shipping to subscribers) - if you'd like a copy, the terms are the same as in the previous paragraph.

And congrats, Ed, for all the much deserved attention


*****************************************************


For those not tuned in last week, the new feature I'll be highlighting in these weekly posts will be the Lilliput broadside issues, which have been published throughout the full 20 year run. Broadsides feature the work of one particular poet; the idea is to let the poet stretch out a bit, so there is no ten-line restriction as in regular issues. They are available for $1 or 3 for $2: here's a full list of those published to date. This week's poem is from Mark Hartenbach's excellent broadside, "Butterfly, Corkboard," which was issue #158, published in August 2007. Hope you like it.

exploitation poem

why do we insist on testing one another
without so much as a single warning shot
an episodic glance, an indifferent shrug

we demand a dent in memory
build or rebuild our ego
with scraps of others

we feign the blues
& forgetting
depend on an element of surprise

we fine tune our desires
knowing when to surrender to surface
& when to sink teeth deep

when to conjure up names
that promise dead flowers
& stale perfume

when to take another
to the edge of the water
& when to pull back at the last moment

when to translate
the firmament
into inevitable embrace

& when
to casually mention
that every star is dying

Mark Hartenbach

And Issa, an old time stargazer with many poems on the topic:






in cold water
sipping the stars...
Milky Way

Issa
translated by David G. Lanoue

best,
Don