Monday, October 27, 2008

Clementines and Missing Children

Mary unloaded the paper bag of groceries, first the eggs, followed by the fruit (bananas, apples, clementines), the orange juice, frozen peas, and finally the milk carton.  Only noticing the child's face on the carton as she placed it on the counter.  After placing the groceries in their allocated places, Mary further investigated the side of the milk carton as she peeled a clementine.  Reading about the disappearance of Caroline Murphy from Florida, Massachusetts two months ago and the hotline number to be called if anyone has any information, Mary placed the half peeled clementine on the counter.

Seeing the missing child poster on the milk carton, reminded her of the summer between seventh and eighth grade.  Mary moved out of the kitchen, away from the smell of the clementine, to find the box of childhood belongings and knick-knacks.  Upon finding the box in the back of the hall closet, she nearly tore off the lid looking for the newspaper clipping with the missing child photo.  Throwing all the non-related objects to the side: the pie contest winner ribbons, report cards, post cards, potpourri from camp containing, lavender, clementine peel, dried apple, and rose petals.  At the very bottom, Mary found the folder containing the collection of newspaper articles related to that summer, from Roger Griffin's missing child poster to the articles written by his parents.

She returned to the kitchen, placing the folder next to the half-peeled clementine.  Opening the folder and lifting out the aged newspaper clippings one by one, Mary gazed at the photo of the adolescent man in the missing child article.  The memories of spending the summer by the lake, Roger teaching her hot to ride a unicycle and juggle using clementines, flooded back to her.  Roger had spent the first three weeks of the summer at circus camp, had come back with all sorts of tricks.  His disappearance rocked the small lake town in New Hampshire, posters of his smiling face were plastered everywhere.  Mary picked up three clementines from the fruit bowl and threw them each in the air individually.  Continuing for a few minutes, she let them drop to the counter, landing on Roger's missing child article.

Mary picked up her half-peeled clementine and finished peeling it as she continued to re-read all the articles related to Rogers initial missing child announcement. Moving through the articles from his parents looking for any information on their son's disappearance to the final police report of the finding of a body in the next county.  Mary went on eating her clementine piece by piece recalling the phone call from Roger's parents, the night the police found the body.  That was the night she began clipping together the missing child poster and articles.  Holding onto his missing child poster, with his smiling school photo, helped her remember all the times they juggled clementines and rode unicycles.

Mary finished her clementine, scooped the peel into her cupped hand and turned toward the trash can.  Throwing the peels away, she looked at the face on the milk carton.  Who were this girls friends? Are the police still looking for her? Did she know how to juggle clementines and ride unicycles?  

A three hour lay-over in the Amsterdam Schipol Airport

Blue suits race by
heal click clack.
Languages I know
languages I don't.

People coming and going.
Delayed flights
Twenty minutes
Three hours.

Currency exchange
Quick mathematics in my head,
how much IS a dollar worth?

Colorful patterns,
babies snuggled in layers of pattern
wait for a flight to Lagos.

The smooth relaxing Dutch voice,
"Would passenger Williams
 please report to gate E27. 
You are delaying the flight.
Your luggage will be off-loaded."

Orange clogs, windmills,
tulips, real and foam, 
Speculaas cookies and cheese
greet us at Duty Free.

The place I'm going
The places I've gone
The places I want to go
The places I've never heard of. 

Red and White Balloons

The canon explodes, leaving a trail of rotten eggs.  Stay between the white and red balloons, I tell myself.  Yelling and whistling as we make our way forward, jostling for spots.  Moving faster as we move away from the canon.  Men in camo line the streets.  Moving through the early morning mist.  The spires of the cathedral peak above the clouds.  Lush dew covered woodland.  Silence except the deep inhalations and exhalations.  The sun fighting through the clouds at the top.  Drums beating or is that my heart?  Ghosts lead the way.  I've lost sight of the red and white balloons.  Roaring voices greet us as we leave the forest, brownstones become our fencing.  The sun washes away the mist.  The river moves swiftly on my right, under the bridge, take me with you.  My stomach grumbles, time to refuel.  Along the rows of cherry trees.  More men in camo, one is yelling through a megaphone.  The shade of the trees provides relief from the beating sun.  Half way.  The quiet of the trees gives away to the mall.  Someone turned the volume from minimum to maximum.  Past the memorials and museums, down and around.  Out of the shade of the Smithsonian to the exposed cement.  Water? Where is the water?  Men and women in camo yell, WATER.  Paper cups litter the streets.  More water makes it onto my shirt than in my mouth.  I am so very tired.  "The end is near, have a beer," I wish.  OH! gummi bears!  I am pushed harder, a gel pack reflects the late morning sun.  This feels longer than a mile, I think they measured it wrong.  More men in camo.  Just keep moving.  Oh god, when will this end?  The graffiti sign, YES! So many people yelling, whistling, clapping.  I must beat the red and white balloons.

Friday, October 17, 2008

Adho Mukha Svanasana

Breathe in
Breathe out
I swan dive forward

Breathe in 
I gaze at something not quite there

Breathe out
My feet move back, I look ahead

Breathe in
I straighten and peer at the sky

Breathe out
I push back, inching toward the ground

Breathe in
Breathe out

Breathe in
Breathe out

Breathe in
Breathe out

Breathe in
Breathe out

Breathe in
Breathe out


Seawall


You took me here on our first night.
Hand in hand
we walked the star-lit streets
of Bass Harbor.
The beam of the flashlight
bouncing ahead of us.

Past the lighthouse 
and the Harbor walk,
through towering pines
to the opening, vacant of trees.
Only the rocky beach to divide
sea from pond.

We stood listening to the waves.
The almost-full moon, 
a spot light upon us.
I saw my very first shooting star 
here.
Traveling off to new
wishes.

Tuesday, October 14, 2008

Matthea Harvey

Born: September 3, 1973
Years Active: 2000 - Present
Genre: Political Contemporary

Biography
Matthea Harvey was born in 1973.  There is little biographical information about her early life. She began writing as a child and realized her potential for poetry in college after taking a class with Henri Cole.  She doesn't restrict herself to just one art form but also played the flute for 13 years and enjoys photography and painting.  Her sister, a painter, has provided much influence for her poetry.  

Her poetry is described as "light and quick" by the New York Times.  She draws for inspiration from the world around her.  Using her eyes to absorb the goings on and then collecting them in an orange binder to combine various things to create poetry.  Inspired by photography of Gabriel Orozco, words of Eliot, Dickens, and Trollope and music of Willie Nellson, Harvey pushes the mold to create poems that are uniquely her own.  

Currently, Matthea works at Sarah Lawrence College in New York, edits jubilat, and continues to write poems and children's books.  Her first children's book is scheduled to come out in 2009.  She is also in the works with Amy Jean Porter for a collection of poems, Of Lamb, based on the life of Charles Lamb and his sister, Mary.

Works
Poetry
Pity the Bathtub Its Forced Embrace of the Human Form, 2000
Sad Little Breathing Machine, 2004
Modern Life, 2007

Short Story
No One Will See Themselves in You, 2005
The Little General & the Giant Snow Flake, 2009

Moods
Warm
"a row of trucks lit like orange squares in the setting sun"
Gradations of Blue

Lonesome
"the maid thinks otherwise she knows the king
Does does not grip the queen tightly in his arms"
Pity the Bathtub Its Forced Embrace of the Human Form

Intimate
"His breath quickens at night as he dreams of her he wants 
To create a present unlike any other..."
Pity the Bathtub Its Forced Embrace of the Human Form

Heavy
" ... the barge floating by loaded with
lard,  the white flagstones like platelets in the blood-red road."
Implications for Modern Life

Witty
"In the aftermath of calculus
your toast fell butter-side down."
Shiver & You have Weather

Groups/Movements: Contemporary.  Contemporary poets write of today and their surroundings.  As Matthea Harvey is still writing today it is difficult to place her among a group or movement.  Her writing is falls within many groups and movements including language poetry, New York School, and concrete poetry.  Language poetry aims to emphasis the language of the poem and allow the reader to connect with the poem in a new way. Language poetry seeks to involve the reader in the work, thus allowing the reader to aid in the meaning of the poem.  This style also requires the reader to approach the text in their own way.  Language poetry is also found weaved among prose.   The New York School of poetry was "serious, but also ironic and incorporated an urban sensibility into much of the work" (poets.org).  This movement included John Ashbury, Frank O'Hara, and Alice Notley.  The concrete poetry seeks to use visual aides to enhance the experience of the poem.  The concrete poets included e.e. cummings and Ezra Pound.  

I think Harvey takes many different aspects of each of these movements with her serious tones in The Future of Terror and Implications for Modern Life, which reflect the New York School by taking the changes in American life post 9/11.  Alternately, she also uses breaks and spaces to create visual stimulation in Introduction to Eden, following in the concrete poetry movement.  Many of Harvey's poems also fall into the language poetry movement by weaving her poetry into prose form in Baked Alaska, a Theory of.  Thus while she is still writing Harvey can not be contained to just one movement or group and takes from many different movements. 

Similar Artists
1) John Ashbery - Possibly an influence as well as a similar artist, Ashbery started his long career as a poet as an experimentalist, much like Harvey is known as now.  Both poets use disjointed syntax and the broken up stanzas.  Harvey follows in Ashbery's unconventional poem structure.  Harvey and Ashbery use out of the ordinary language to describe a subject.  
 
2) E. E. Cummings - Part of the concrete poets as one who wrote not only for literary appeal but also for visual appeal.  His broken style of Buffalo Bill's is visually similar to Harvey's Introduction to the World.  Both poets work with the visual and lack of punctuation at the end of lines to move the poem along.  The lines cascade onto the next without interruption.  Both poets share commonalities with Gertrude Stein as well. 

Followers While Matthea Harvey is still producing works at the moment it is difficult to assign a follower.  She teaches and therefore one can only imagine the number of students she has influenced and their potential for similarly great work.  

Influences
1) Anthony Trollope - One of the most successful and respected English novelists of the Victorian era.  Trollope wrote of political, social and gender issues of his day.  Harvey mentioned in an interview (see sources) the role of Trollope on her writing.  She describes his language as "delicious."  The influence can also be seen in her work of using language of today to relate current issues.

2)Amy Cutler - Harvey calls Cutler an influence as one who's paintings complement her (Harvey) poetry.  Harvey finds Cutlers art something that can be friends with her poems.  I find that the paintings of Cutler would be very much suited in a children's book, which happens to be a writing form Harvey uses often.   Cutler also uses current events and personal experiences to design her works of art.  Harvey has mentioned that she is influenced by things that come in through her senses (eyes, ears, nose, touch, taste), thus it is not surprising that she is influenced by art.

Works Consulted
www.poets.org

www.poetryfoundation.org

Sad Little Breathing Machine Matthea Harvey, 2004

Pity The Bathtub Its Forced Embrace of the Human Form Matthea Harvey, 2000

Matthea Harvey website: www.mattheaharvey.info

New York Times www.nytimes.com 
Article from Feb. 17, 2008

Bookslut Oct 2007
www.bookslut.com

Pablo Neruda

Born: July 12, 1904
Died: September 23, 1973
Years Active: 1923-1973
Genre: Latin American Poet

Biography

Born Neftali Ricardo Reyes Basoalto in 1904 to Jose del Carmen Reyes and Rosa Basoalto in Parral, Chile.  Neruda was raised by his father after his mothers death from tuberculosis during his childhood.  His father, a railway worker, insisted Neruda be educated and moved the family to Temuco.  While studying Neruda met Gabriela Mistral, Nobel Prize winning poet of 1945, who introduced a twelve year old Neruda to poetry.  At the age of seventeen Neruda began his studies of French at the University of Chile in Santiago at the insistence of his father.  While at University, Neruda began writing poetry  and won the first prize in the Federacion de Estudiates poetry contest in 1921.  He then went on to publish his poetry in the Claridad.  In 1922, Neruda left University  and declared himself a poet and political activist.  It is here that he took the pen name Pablo Neruda, after the Czech poet, Jan Neruda.  

He self published his first book, Crepsculario, in 1923, followed by Twenty Love Poems and a Song of Despair, which becomes his most wide read book.  Desperate for a job, Neruda took a position representing Chile as a diplomat in Burma.  This begins his long career as a Chilean diplomate which takes him to exotic locations including Ceylon, Jakarta, Java, and Singapore. It is in Java where he meets his first wife, Maryka Vogelzang.  Neruda serves as a diplomat in Buenos Aires and Barcelona before his life altering post in Madrid.

1934 marks the birth of his daughter, Malva, and the formation of his friendships with Rafael Alberti, Federico Garcia Lorca, and Cesar Vallejo.  This group of influential writers were politically active and wrote of the contemporary changes occurring in Spain in the years leading up to the Spanish Civil War.  His presence in Spain during the civil war marks a change in his poetry for the remainder of his life.  After witnessing the execution of his friend Garcia Lorca in 1936, Neruda moved to Paris, where he organized safe passage of Spanish refugees of the civil war to Chile.  

Neruda returned to his homeland in the early 1940's to write about his native land in The Heights of Machu Pichu and inspires his interest in the ancient Americas.  He married his second wife, Delia del Carril of Argentina in 1943.  In the late 1940's, the Chilean government moved to the right, forcing all the leftists writers and political figures to flee the country.  Neruda and his communist contemporaries went into hiding and then exile in 1948.  Inspired by his exile, Neruda wrote Spain in the Heart and Canto General before his return to Chile in 1952.   A fervent communist, Neruda landed on the the Congress of Cultural Freedom's (an anti-communist group, funded by the CIA) primary target list.  He spoke out against the Cuban Missile Crisis and the Vietnam war, and the role the US played.  

The final stage of his life was Neruda's most prolific.  In the final thirteen years of his life, Neruda produced 16 more works of poetry.  He won the 1971 Nobel Prize in Literature and is called the Picasso of poetry.  He served his final diplomatic post from 1970-72 in France. Ill with prostate cancer, Neruda returned to Chile with his nurse and lover, Matilde Urrutia to spend the remainder of his life.  He died of heart complications twelve days after the military coup overthrew Neruda's hopes of a marxist Chile.  

Works Produced
Drama
Romeo y Juliet (translation of Shakespeare), 1963
Fulgor y muerte de Joaquin Murieta, 1967

Long Fiction
El habitante y su esperanza, 1926

Nonfiction
Anillos, 1926
Viajes, 1955
Comiendo en Hungria, 1968
Confieso que he vivido: Memorias, 1974
Cartas de amor, 1974
Lo major de Anatole France, 1976
Para nacer he nacido, 1978
Cartas a Laura, 1978
Correspondencia durante "Residencia en la tierra", 1980

Poetry
Crepusculario, 1923
Veinte poemas de amor y una cancion desesperada, 1924
Tentativa del hombre infinito, 1926
El hondero entusiasta, 1933
Residencia en la tierra, 1933, 1935, 1947 (3 Vol.)
Espana en el corazon, 1937
Alturas de Machu Picho, 1948
Canto General, 1950
Los versos del capitan, 1952
Odas elementales, 1954
Las uvas y el viento, 1954
Nuevas odas elementales, 1956
Tercer libro de odas, 1957
Estravagario, 1958
Navegaciones y regresos, 1959
Cien sonetos de amor, 1959
Cancion de gesta, 1960
Las piedras de Chile, 1961
Cantos ceremoniales, 1962
Plenos poderes, 1962
Memorial de Isla Negra, 1964
Una casa en la arena, 1966
Arte de pajaros, 1966
La barcarola, 1967
Las manos del dia, 1968
Fin de mundo, 1969
Aun, 1969
Selected Poems, 1970
Las piedras del cielo, 1970
La espada encendida, 1970
New Poems, 1968-70, 1972
Geografia infructuosa, 1972
La rosa separada, 1973
Incitasion al Nixonicidio y alabanza de la revolucion chilena, 1973
El mar y las campanas, 1973
Pablo Neruda: Five Decades, a Selection of Poems (1925-70), 1974
Libro de las preguntas, 1974
Jardin de invierno, 1974
Elegia, 1974
El mal y el malo, 1974
El corazon amarillo, 1974
Defectos escogidos, 1974
2000, 1974
El rio invisible: Poesia y prosa de juventud, 1980
The Poetry of Pablo Neruda, 2003 

Moods
Nocturnal 
"I did not have the right to declare
that I existed: I was a child of the moon"
(Child of the Moon)

Aquatic
"Power of the sea, unknown
author of motion"
(The Bottom)

Revolutionary
"We must take to the streets
in resurrection of the portraits"
(Dead Portraits)

Sensual
"Body of a woman, white hills, white thighs
You look like a world, lying in surrender"
(Body of a Woman)

Ominous
"as forced to burn something over the black waters, and devoured
a vanished breath and an extreme liquor."
(Burial at the East)

Groups/Movements: Latin American Boom

The Latin American Boom began with writers in the 1960's and 70's and continued into the 1980's.  Their objective was to reach a wide circulation in Europe and then the world.  They challenged existing conventions of Latin American literature.  The literature is experimental and infused with political themes due to the changes occurring in Latin America at the time, including the Cuban revolution and then the Chilean coup in 1973.  The literature often has a non linear timeline and more than one narrative voice.  Themes include internationalism, awareness of national identity, world/hemispheric issues, economic and ideaologic issues.  Magical realism and historical fiction were the most popular movements within this group.  

Pablo Neruda belonged to many groups and movements in his five decades of work, I chose to focus on the Latin American Boom because I didn't know much about it and found it quite interesting.  He became part of the group later in his life after his exile from  Chile writing about his native country in Alturas de Machu Pichu and Canto General.  His political poetry existed throughout his life, but became more influential locally during the changes occurring in Post World War II Latin America.    

Similar Artists
1)Cesar Vallejo - A Peruvian poet, who befriended Neruda in the 1930's during their time in Spain.  Part of a larger literary circle in the pre-Franco era.  They both wrote of current issues important to them, mostly political.  After the Spanish Civil War, Vallejo reacted to the changes and wrote revolutionary poetry,  much like Nerudas reaction to the war.  Both poets also originated from Latin America and spent much of their lives in Europe expanding the publications of Latin American writers.

2) Julio Cortazar - Born in Belgium to Argentine parents, he was raised in Argentina.  He was part of the Latin American boom around the same time as Neruda.  While better known as a short story writer than a poet, his goals were to expand the knowledge of Latin American issues.  Much like Neruda, his writing reflects the changes occurring in Latin America in the 1950's and 60's.  Both Neruda and Cortazar also supported Salvadore Allende in his run for presidency of Chile.  Their leftist ideals of politics band Neruda and Cortazar in style.

Followers
Gabriel Garcia Marquez - Marquez is part of the later Latin American Boom and called Neruda "one of the greatest poets of the 20th century in any language." Following his forefathers in writing about Latin American culture and issues, Marquez draws from basic human concern, which can also be seen in Nerudas work.  Marquez while similar to Neruda had more magical realism than Neruda in his later work.  Marquez also went on to win the 1982 Nobel Prize for Literature.  

Influences
1) Gabriela Mistral - This 1945 Nobel prize winner was the first person to introduce young Neruda to poetry.  Without her he may have never found his true calling in life. She also supported his passion of poetry when his father disapproved of his writing and literature.

2) Federico Garcia Lorca - A few years older than Neruda, Lorca and Neruda met in Spain in the 1930's to form a tight knit literary circle who wrote about contemporary political issues.  Lorca was also part of the surrealism movement, which is noticed in Nerudas works from post Spanish Civil war until his exile from Chile.  Watching the execution of his friend, Lorca, drove Neruda's poems to be much more politically driven.  

Works Consulted
Literary Reference Center
Pablo Neruda, 1904-1923

Neruda, Pablo. Selected Poems: Bilingual Edition Houghton Mifflin, Boston, 1970

Neruda, Pablo, The Hands of Day, Copper Canyon Press, Port Townsend, 1968
Translated by William O'Daly, 2008