Rosemary

It’s been awhile since a new post, what with holidays and family occasions, but here’s another piece, “Rosemary,”  using the words by Edna St. Vincent Millay.

Millay was one of the most popular, most often read, poets of the first part of the 20th Century, but the later part of the century gave her less consideration. A contemporary of the Imagists and other poetic Modernists that we’ve featured a lot this year here, and while connected to their world, she didn’t sustain favor with the rise of the “New Criticism” that became the dominant academy in the English-speaking world after WWII.

Reasons? Well, there’s gender. One must assume that played a role. And popularity of the general-readership sort would not have been an asset either, as perhaps only Robert Frost and Emily Dickinson survived being read by a general readership in the mid-century without losing their high-art cred. Why couldn’t Millay have joined Frost and Dickinson in these critics’ esteem?

Millay with books

Millay at work. Other than the lack of guitars, just about the perfect décor.

I think it’s largely a case of her poetry not seeming to have the subject of their criticism: fresh, complex, allusive and illusive, imagery. Frost and Dickinson may have used homey sounding language, but in the end those funerals in the brain and snow, roads and woods added up to something to talk about in critical prose.

The New Critics were an inflection point. Before them, poetry was largely considered musical speech, a container that could hold a variety of subjects, after the New Critics, poetry was about the imagery, how you portrayed things with it. And unless one aimed for satire, such complex rhetorical structures must be in service to serious matters.

And so, there’s subject matter too. Millay’s great subject was love and affection, it’s presence, absence and all the shades in-between. In doing so, she addresses much of life and its condition, but did she receive enough credit for that? Is a heartbroken man a tragic philosopher of fate, and a woman merely a spurned lover? Narrow-mindedness can’t be ruled out.

“Rosemary”  allows us to examine these issues. This looks to be a poem about the death of a passionate love or the death of a dear one. I’m not sure which of those two possibilities is standing for the other, but for an audience, it does not matter as both events are common to our hearts.

I think there is an intent here to conjure a complex world of timeless folk magic. Though written in the 20th Century, it could have been written anywhere up to five centuries earlier. In the title we have rosemary, an herb associated with remembrance even in Shakespeare’s time (Ophelia’s mad speech in Hamlet for example), and in the first stanza we have rushes being scattered on a room’s floor, a custom from medieval times to hide the stink and mess of a less hygienic age, a strewing of reeds that may have included rosemary because it was thought to be something of an insecticide. Bergamot is another fragrant plant. Stink, rot and pestilence are all inferred subtly in this verse that on the face of it seems only a short catalog of flowers.

The second verse adds a rain barrel to catch rain, or is it tears? And what’s with that iron pot. Is it a cauldron? The poems last two lines are in quotes on the page. I was suspicious that the “An it please you, gentle sirs,” line was a quote, and finding out what it was from might be important, but I can’t place that line—if any reader knows, please clue me in.

And at the end of this timeless lament: “well-a-day,” which might sound to you or me like “have a nice day,” but is instead a word that harkens back to Old English, meaning woe-is-me.

What I think we have here is a poem, that read quickly, seems to be a trivial verse about some flowers with a bit of a kitchen scene, but it’s stated with deliberately archaic specifics so that the attentive modern reader might notice that time cannot heal this loss. And each thing in it is an image, though they don’t loudly announce themselves as such.

I’m reminded of my distant relative Susan Glaspell’s famous play “Trifles,”  where the domestic clues hide all the information the dense men seeking important information miss.

The Pentangle

The Pentangle. It’s not fair to compare. There’s 5 of them, and only 1 of me. Oh, and talent.

Musically, I went with bass, drums, two acoustic guitars and my voice for this. I was aiming for an impression of the sort of thing The Pentangle did many years ago. They were better at it, but it was good to try. Use the player below to hear my performance of Millay’s “Rosemary.”

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Love Song for a Woman I Do Not Love

One joy of this project’s exploration has been coming upon poets I know nothing about and acquiring their words in my bloodless version of that conqueror on the “peak in Darien.” Writing about Frost, Pound, HD and Eliot in England early in the 20th Century lead me to T. E. Hulme, an Englishman of pugnacious artistic pronouncements and surprisingly modest and moving poetry. And T. E. Hulme led me to F. S. Flint, another British writer and literary theorist in this circle in the years just before WWI.

Last month I introduced readers here to Flint’s amazing rise from Victorian poverty. In the interim I’ve been reading more of his work, including his 1920 collection of poems (he called them “cadences”) titled “Otherworld.”  Since Flint is not commonly studied or anthologized, each poem as I encountered in the collection was a fresh experience, no different than reading a new poet’s chapbook published this year. I could start a poem of his in “Otherworld”  about a confused midnight awakening, and come to find it’s a first-hand account of a deadly London air-raid by a German Zeppelin.

Today’s piece, in the same collection, held another surprise. It tells you it’s a Love Song, but contradicts that before the end of the title. What it is instead is an unstinting examination of the corrosion class and gender inflict on the grail of love. The singer of this song lays bare a combination of disgust at how he’s judged as a poor man, with an undisguised desire to own the things he does not have, including this other human being, the woman of the title.

Bright Coloured Cretonnes!

“Bright-coloured cretonnes…” What is the erotic despair of draperies and upholstery?

I can think of dozens of popular songs that deal in some variation of this, but it’s harder to come up with 100-year-old poems, much less ones as good as this one, that talk of this. Ignore a handful of references to the interior decorating trends of Flint’s time, and this poem could have been written yesterday, except few writers of any time would be as acute as Flint is in observing this.

What new poets of the Modernist movement do I get to discover and share with you in the upcoming year? I can’t be sure, but I noted that Flint’s “Otherworld”  is dedicated to Herbert Read, and from what few poems of his I can find online, Read seems just as fresh and fascinating.

But let’s not get ahead of ourselves. Musically I’ve been telling myself I want to utilize some of the methods of hip-hop records, and yet each time I set out to do this, I get side-tracked by my own idiosyncratic musical muse. The melodic top line is my appreciation of early 1960s hard-bop organ playing. The bass part is a combination of a left-hand organ part with electric bass. Two bass lines shouldn’t work, but I think it does here. That’s not the only duality in this: the drum machine beat is augmented by some percussion which keeps the drum machine from ruling the groove “correctly.” The hip-hop rhythm flow eludes me again, though maybe I recall some predecessors like Dr. John the Night Tripper?

To hear my performance of F. S. Flint’s “Love Song to a Woman I Do Not Love,”  use the player below.

Thanks Owing

A holiday for it, so this is due.

yard turkeys

Have you changed out your summer flamingos for autumn yard turkeys yet?

“The Parlando Project,” my 2015 dream to present over a hundred audio pieces combining various words (mostly poetry) with various music, has now reached 155 officially published pieces. For those who’ve taken some of your attention and spent it listening to me present my take on the words of others, primary thanks is due to you. Despite the amount and variety of material I present here, I respect that your attention is precious. Thank you!

Thanks even to the unintended. The strange movements of technology and trade have allowed highly flexible musical instruments to become available at low prices. Most of what I use to make this did not exist one hundred years ago, and in the past few decades, the cost of these instruments, software and recording technology has declined into broad affordability.

Similarly, the Internet, so easy to dismiss for its mundane temptations, has made the availability of artistic materials “ubiquitous everywhere” that tautologies are sold.

Both of these things, the music technology and the Internet, are so enabling of creative work that it seems almost sinful to me to not apply my human imagination to them. But, as with many things, avoiding one sin leads to the commission of others. So, thanks also to my family for the forbearance that has allowed this project to get the amount of time and attention it asks for.

Thanks to Dave Moore, who lets me take a break from presenting my voice uninterrupted , and whose words are presented in some of the most listened-to pieces presented here.

Thanks to the Modernists of  100 to 150 years ago, who showed us fresh ways to use language, and shared their complicated hearts, heart’s beats, and apprehending eyes. Thanks also to their foresight to publish their work before 1924, so that we’re free to demonstrate to the still living what they did. Alas, the leading sadness in this project for me has been the large number of works by no longer living writers whose work you and I cannot speak publicly, because our copyright laws forbid it.

No new audio piece today, instead, here’s one of the first officially released pieces of the Parlando Project, words adapted from Dave Moore. I view it as being about the people left even farther behind than the signed artists of famous paintings. It’s called “Netherlands.”

I’ll let it be a reminder that there is a whole lot of material available here now, so using the Search… box or just click-wandering through the Archives months on the right will allow you to listen to more of the variety that Dave and I do.

Subscribing to the blog either through the “Follow” button near the top, or on the WordPress Reader, will let you know about new posts as they occur, or if you just want an easy way to get the new audio pieces for listening to them off-line, you can do that by subscribing to the “Parlando – Where Music and Words Meet”  podcast on  iTunes, Google Play Music, Player.FM, Stitcher, or wherever you get podcasts. The “Parlando – Where Music and Words Meet”   podcast is free of course. [note: I’d previously mentioned using the little orange RSS buttons to subscribe to the blog, and for those who have an RSS-aware app they will  still work, but the Follow button I’ve just added today makes this easier for most.]

Here’s the player to listen to “Netherlands”

Merry Autumn

Over the years I’ve developed a tough-enough way to be cheerful and productive, my own “grant heart” to myself. Though on the face of it, it sounds glum, I’ve learned it by reading about artists or from artists talking about their work, and it goes by this cheerful motto: “All artists fail.”

All artists fail more than they succeed. Every. One. No artist is so broadly popular that everyone likes their work. Even those that might gain a plurality of some kind, for some time, that likes their work, will find most of that group “ignoring” them most of their lives, because our attention is so precious and limited as audiences. One’s privilege as an artist is to get to fail again. If you don’t like how you’re failing, fail better, or fail differently, fail more often.

And even those artists we think of as succeeding sometimes, sometime find themselves succeeding in misunderstanding or misapprehension.

How can this knowledge help us, grant us heart, and not crush us? Anyone who makes things should carry in themselves the conviction that the world needs more of what they do, even if they or the world don’t know it yet. We are making more of what needs to exist, though that may fail when the world doesn’t know what to make of it. It may fail because we are wrong about its necessity. And it can fail because of how we choose to manifest our art.

Are we good enough to manifest our art so that it will not fail all the time? If our desire, our artistic conviction, is somewhere around helping heal the world and cleanse it’s perceptions, you may take that as beside the point. Decades ago, in the early days of the modern emergency medical system, I once helped receive a patient in cardiac arrest as they arrived at an ER, delivered by a volunteer ambulance corps. The man in the back of the rig, still in the human heat and confusion of the moment, said that he would have performed CPR, but that his certification for CPR had expired.

Well, you have to try, even though CPR then, as I suspect it does now, mostly fails. Art, even good art, usually changes our perceptions for only moments, leaving us nearly as deaf, blind and numb afterward. If art can heal the world, it’s a long course of treatment, and its healing is imperceptibly slow.

So, if you want to make art, want to write or make music, take heart and make sure your goal is to cleanse perception or heal the world. Add to your goals one more precept, to try to not bore the audience when it grants you it’s precious attention. If you want to create art because you want to succeed, consider a lottery ticket instead.

What a roundabout way to get to Paul Laurence Dunbar’s Thanksgiving poem “Merry Autumn.”  How did the poet Dunbar “fail?” The child of two enslaved African-Americans, raised by a mother who learned to read to help educate her son, Dunbar was able by the age of 21 to gather some appreciation for his poetry, which spoke in three voices. Voice one was that of an accomplished 19th century poet who spoke like the East Coast “Fireside Poets” such as Longfellow, using a middle-Atlantic diction that may sound slightly old fashioned to us, but was the established voice of poetry in America at the time. We in the 21st Century may hear the peculiarities of that voice from our vantage point in time, but it would probably have not seemed like a dialect at all to his contemporaries. He also wrote in two other American dialects, and dialects were a great American literary fad of the late 19th Century. We might rarely encounter the remnants of this fad in Mark Twain or some other regionalist writers nowadays, but the idea of using written English to represent the different pronunciation and syntax of a big country before broadcast media was an artistic and commercial success of the time. Dunbar’s poems, then, also “spoke” in an informal, less-educated Midwestern dialect, and in what was considered as the southern black dialect of the time.

Dunbar Live!

Ich bin nur einer meiner vielen Munde und jener, welcher sich am frühesten schliesst.”

 

It’s hard to say how accurate this black dialect was. Dunbar’s mother likely would have spoken in it. Even though we’re speaking about speaking of just a bit more than a century ago, it may come down to the same informed guessing that allows actors to perform Shakespeare in “original pronunciation” productions. And Dunbar’s transcribed accuracy aside, how it would be read by fellow African-Americans and how it would be read by Americans of European extraction would likely have differed greatly. On the page, his Afro-American dialect poems can look/sound like the black-face makeup minstrel-show dialect performed by successful white entertainers who perfected cultural appropriation for laughing audiences. The humble-brag of the Afro-American dialect poems may be abstractly similar to the tropes of the his Midwestern regionalist dialect language, but in the end, it was not “read” as similar by the predominate culture.

What did a young Dunbar think of all this as he wrote his poems in either of these languages? I do not know, but his dialect pieces were something he was praised for by the cultural critics of the time, and they no doubt aided his marketability. He eventually expressed despair at the concentration of the attention on the Afro-American dialect poems. Perhaps he had wanted to say that he’s all of these things: a black man, a Midwesterner, and a man who could sing a middle-Atlantic song as sweet as Longfellow or Whittier, and instead he was seen as the man to represent only the borough of his race in the eyes of those who did not share his experience. He had to try. He “failed.” Today we may be grateful for his failure.

Today’s piece “Merry Autumn,”  doesn’t show Dunbar’s later despair. It’s largely in the “Fireside Poets” mode, though he drops into informal Midwestern idiom once or twice. And following the precept to not bore the listener who lends their attention, he takes a contrarian stance toward the old poetic trope of Autumn symbolizing death and a fall to winter.

I sing it here with a folk-music type melody, an acoustic guitar, and some strings for accompaniment. Use the player below to hear it. Thanks for taking the time to listen!

 

 

Arrival

Today’s words are from William Carlos Williams. Unlike our last post, I wouldn’t call this a love poem. Oh, I believe there’s an assignation between two people in the opening section of this poem, but affection seems missing and the desire, if present, seems to be questioned—no, that’s not quite right—the questioning of desire is silent, present in its absence.

William Carlos Williams 1

Poet and physician William Carlos Williams casts a cold, clinical eye on desire

 

This is another poem I came across at the Interesting Literature blog, where it was included in a round-up of seduction poems. We’ve visited a few of that type of poem here as well, with shepherds, nymphs, a merchant’s wife, and Williams’ fellow physician-poet Thomas Campion making invitations—but this isn’t really a proposition, any more than it’s a love poem.

Williams’ poem is not titled something like “Come Live with Me and Be My Love”,  it’s titled “Arrival.”  So yes, an assignation, but one with a schedule like a train or airplane flight, or as we’ll soon see, like a season. Is there desire in the unhooking of the dress? In modernist, Imagist style, that emotion is not stated, but the passive voice and sparsest of descriptions argues that it’s there and is not there.

After the poem finds itself, as many of us have or will find ourselves one day, in a “strange bedroom,” a sea change occurs. The woman in the dress has disappeared. In her place: an autumn tree, disrobing its leaves because the season is felt arriving. Again, desire is not mentioned—it wouldn’t be mentioned, this is an Imagist “show not tell” poem—but this image is also passive and rote.

I’ll let you feel and figure out the image of the final few lines yourself. The now naked woman as bare winter tree? Or is her presumably male companion’s body being synecdoched?

Merlin Dulcimer

“A dulcimer in a vision once I saw” The Seagull Merlin dulcimer I played on this.

 

What of the music today? The instrument that sounds something like a mandolin is an Appalachian dulcimer, a simple American instrument; but one, like the sitar used in the last post’s audio piece, that has drone strings. The music is modal too, based around D Dorian. On the percussion side I remain attracted lately to little instruments, so there are shakers, maracas, a cabasa, congas, a chime tree, even some finger snaps in this. I could say that this is a connection to William Carlos Williams’ Puerto Rican heritage, but really, it’s something that is pleasing me musically this month.

Here’s the piece, use the player gadget below to hear it.

 

Did you like it? Want to help spread the word about this ongoing project to mix various words (mostly poetry) with various music? Hitting the like button here helps, but what does the most to bring this to the attention of new readers and listeners is to mention and share this blog on your own blog or on social media.

Want the audio pieces to listen to later? You can subscribe to the Parlando Project podcast on Itunes, Google Play Music, Stitcher, or wherever you get your podcasts.

 

She is As Near to My Heart

Here’s another piece adopting words by Rabindranath Tagore, the Nobel Prize winning songwriter and polymath. Tagore is a remarkable man about whom I know only a little more than the average Western musician or writer. His life as a writer is only a small part of his impact in South Asia, but that alone is enough to bring your attention to him. Knowing as little as I do about Bengali literature, I take it from others that he’s exquisite in that language, and that, at the beginning of the 20th Century, he accomplished the same task for his culture that the modernist poets writing in English did, bringing a fresher, more colloquial language to poetry.

Tagore wrote in many forms of literature, but when his Nobel Prize was awarded, the only work available in English was a book of his lyrics, which he had self-translated into English prose—which makes him the first songwriter to win the Nobel for Literature. Tagore’s own prose translations do not fully hide the musical nature of the works, but they often sound somewhat stilted to this English language reader. I’ve adopted his words somewhat for this piece. It’s a love song.

Now for those that come here for talk about the words used, we’re going to diverge this time and talk instead about the music.

It’s likely that Tagore also wrote music for this, but I do not know his tune. My knowledge of South Indian music is limited as well, but like many Westerners, my introduction was Ravi Shankar records that were widely available in the Sixties. Ravi Shankar had become something of a cultural fad then via his association with A Beatle!  and the sideways belief that this music was “psychedelic.” That word, a neologism of the times, was formed from the Greek words for “mind” and “manifesting,” meaning music that could produce altered states of consciousness, inferring that it was like mind-altering drugs, and that it might be a suitable aural counterpart to imbibing in same. Looking back, I find this a quaint sort of categorization, as much music—and even the mind itself—can change one’s appreciation of consciousness, perhaps not with the whipsaw impact as the psychoactive drugs of the time, but powerfully enough.

Mark me down as a man who doesn’t know when to let go of a fad. Despite my listener-only naiveté about South Asian music, three things attracted me upon hearing those recordings, or viewing the small portions appropriated to Shankar in the rock concert films of the era:

The drone. This is a complex music based not on a progression of chords, but instead where the color changed not from a new chord or key, but with timbre, melodic scale, rhythm, and expression against a static, home chord or tone. I might have grabbed this from something else eventually (John Lee Hooker and Miles Davis were also there to tell me this about the same time) but Shankar and South Asian commonplaces like tampura and harmonium drones were where I first appreciated this.

The tabla. The rhythmic structure of South Asian music is as complex as any I know, and is its most “foreign” element. The rhythmic structures have extraordinarily long cycles, difficult to “count” in a mathematical toe-tapping sense. I have a fair to poor sense of rhythm myself, but I heard these complex rhythms “melodically,” not as marks on a grid, but as a string of events with a compelling line of sound. As expressive hand drums capable of vibrato, the tabla encouraged this.

The sitar. To this day, the strum of a sitar is the go-to sound-effect clip to say “hippie.” Which is a shame because it’s a remarkable instrument with many musical features exploited by its virtuosos. To my ear, and to many guitarists who wanted to approximate the impact of the sitar, the main things were the ability to provide its reinforcement of the drone with resonating strings, and the raised frets that allowed notes that were in fact a cluster of microtones sounded in close vibrato.

 

Ravi Shankar with Alla Rakha Khan on tabla and Kamala Chakravaty on tampura

 

For “She Is as Near to My Heart”  I approximated all these things with non-South Asian instruments. The song’s harmonic home point is an arpeggiated cluster consisting mainly of D, E, G, and A notes, giving a key center that is ambiguous, but that I thought of as A minor for my purposes. In place of the tabla, I used a syncopated 4/4 that is comfortable to our rhythmic toes, but to give it that tabla sound, I used congas and a drum machine with its own electronic approximation of the tabla’s pitch bend. For the sitar element I used a MIDI interface to play a digital instrument approximation of the real thing with a guitar. And over the top, well why not, some electric guitar where I mixed blues with some more sitar-sounding licks like psychedelic guitarists liked to do in the Sixties.

Squier Fat Nashville Telecaster

Not a sitar, but…

 

You can hear this using the player below. We’ll return soon with more talk about words next time.

 

 

Veteran’s Day, Remembrance Day, Armistice Day

November 11th was first celebrated as Armistice Day, the day that World War I ended 99 years ago. As wars—even World Wars—continued after that war, the day has been pressed into other service. In the United States it’s Veteran’s Day, a day to think of and thank those that served in the armed forces. In the UK and Commonwealth Countries I hear it’s celebrated as Remembrance Day, making it more akin to the US Memorial Day.

Because I like modern poetry, and the most recent poetry I can use freely here is from before 1924, and because we are marking the centennial of World War 1, I’ve performed a lot of things from the the WWI era here, including poems about that war. Since many of you are new to this blog (traffic has grown considerably since this summer) I’m going to take this day to point out a few poems about the experience of soldiering, many of which are written by the veterans themselves.

“On the Troop Ship to Gallipoli”  has turned out to be one of the most popular pieces here. It’s my adaptation of a fragment written by Rupert Brooke. Brooke was a believer in the British cause in WWI, and this piece comes out of words he wrote shortly before his death of an illness he contracted while on the ship taking him to the front in Turkey. It’s a testament to people willing to put their life on the line for an idea.

 

 

“The Trenches St. Eloi”  is nearly a dispatch from the front in poetic form. It was written by T. E. Hulme, one of the founders of Imagism and modernist British poetry, though his own poetry is less known than it should be. St. Eloi was a major front in the trench warfare that stagnated for much of WWI. Eventually elaborate tunnels were dug at St. Eloi by Welsh coal miners in hopes of gaining an underground advantage. Hulme was wounded there serving in the British Army, came back to England to heal, and then returned to the war where he was later killed in action.

 

 

“South Folk in Cold Country”  was published in this form during the time of WWI, but it’s a translation (by Ezra Pound) of a work by classical Chinese poet, Li Bai. In it, the lot of the soldier sounds eerily similar to that Hulme was experiencing a thousand years later. Li Bai is the same poet that Pound used as the source for the more commonly anthologized poem “The River Merchant’s Wife.” Anthologies, and perhaps readers,  seem to prefer love poems to poems about war.

 

 

“Christ and the Soldier”  is by Siegfried Sassoon, who was a decorated hero of Britain’s army in WWI. However, he was at least as courageous in publically taking a stance against the war while still in service. A compromise was reached that he would be treated as a casualty of “shell-shock” at a asylum in Scotland rather than charged with treason or some other serious crime. Sassoon published poetry about the war during the fighting, but this one was held back and was not published until later.

 

As a break from the gravity of these men’s experience, let’s remember that the experience of soldiering, even in wartime, is not without absurdity. After WWII, several artists had a hit with a spoken word record written and originally performed by T. Texas Tyler called “The Deck of Cards.”  And it’s been occasionally revived, slightly revised, for later wars—which is only right, as the original concept of the disreputable deck of cards that symbolizes what is holy goes back to at least the 18th century. The song’s performer usually follows Tyler’s model and says at the end of the piece that they know it’s a true story because “I was that soldier.” Well, Tyler wasn’t from Texas and I’m not even sure he served in the second great war, but its enduring popularity says that the story of a disrespected common man who shows the brass that he’s just as pious and knows a thing or two is just so satisfying. English songwriter Robyn Hitchcock performed a parody of Tyler’s song from a more Dadaist angle a few years back, and this is my version inspired by Hitchcock’s. I’m not a soldier, but the story is  true: B. B. King did  ride a bicycle out of the Mississippi Delta to Memphis.

 

 

Finally, a complete change of mood, and perhaps more in the Remembrance Day or Memorial Day spirit, but here’s Spanish American War veteran Carl Sandburg’s elusive elegy to the peace all wars fail to, “Grass.”