For You

Here’s a poem by Carl Sandburg, whose poems can be returned to for their light illuminating justice and injustice, but also because he will give you endurance and compensating love.

Injustice is large, it is ancient. Love is short as life, but nearer to us, and like the palm of a nearby hand it can blot out an immense but distant mountain. If enough hands are raised together, the most foreboding mountain can not only be obscured, it can be leveled.

Carl Sandburg and Marilyn Monroe raising books

How many in favor of more music and poetry?

 

Today marks the third year since the official launch of this project. My goal when I started was to create 100 to 120 audio pieces using various words, mostly other people’s words, and mostly poetry, combined with original music, music I planned to be as varied as I could make it. Today’s piece is the 360th of these.

That number amazes me, even though/because I have been there creating each of those music/words combinations. It means that nearly every day in the past three years I have been—or I have been avoiding—searching for and selecting words, composing music, playing and recording that music and then presenting some thoughts on that encounter with you.

I started as a guitar player, and in this time I’ve become nearly a functional bass player and found ways to allow my naïve keyboard skills to direct music making from that direction too. My abilities to integrate bowed strings and orchestral instruments into these pieces has grown, something that I’ve been indulging in a bit this month.

During this time my son has grown from a grade-schooler to the doors of high school. I think he still finds this activity a little odd, and as far as I know he never reads these posts, only hears the audio pieces in their halting steps of creation. He might recognize it later. Many of the posts here were written with him as the audience in mind.

My wife has been patient and forgiving of the time I spend on this, for which I am grateful. These few words are not thanks enough.

Dave Moore (you’ll hear from him again here soon) has of course been an important inspiration and help in the overall project.

And you, readers and listeners and fellow bloggers, are a large part of why this project has continued. This project has no revenue, no grants, no sponsoring institution. The reason it has continued past the first 120 pieces has been your response and assistance in spreading the word about it. You weren’t the reason I started this, but you’re the largest reason I continue with this project. Your likes, links and sharing help keep it going.

Renee at Powerderhorn

Renée Robbins. A memory too strong to forget and too heavy to carry. “Whisper, Oh beginners in the hills. Tumble, Oh cubs…”

 

So why did I start this project officially in August? I was thinking of my late wife, Renée Robbins, a caring person who helped and befriended many. I lack the personal skills to do what she did in that regard, but I can, in my idiosyncratic way assist the writers I present here. If poetry is a living art, it lives not just in the mind and memory, but in the moment and the ear. Thanks for your moments and your ears.

Earlier this year I presented part of the title poem from Sandburg’s Smoke and Steel  collection, the first poem in that book of his. Today’s piece is the concluding one in the same book. As I mentioned above I’ve been working on larger orchestral arrangements with woodwinds, horns, and string sections lately, and that’s what I’m using here. I’m kind of moving through different orchestral colors in this short piece to match the range of Sandburg’s catalog in his poem.

The player gadget to hear Carl Sandburg’s “For You”  is below. If you want to read the text of the poem, it’s available here.

 

More on that exchange published in the prologue to Kora in Hell

Did you find yourself agreeing more with H.D. or William Carlos Williams in Thursday’s audio piece taken from Williams’ Kora in Hell?  If I was to survey listeners, I’d be surprised if Williams wouldn’t win far more applause. Being that it’s his  book, and he controls what H.D. presents before he responds, it wasn’t really a neutral-site debate.

That sort of exchange could remind you of our modern political ads, where candidate A is quoted or shown in some excerpt that appears outlandish, and then candidate B is cut to saying that they think that’s just as outlandish as you think it is, and I’d never take that position, so vote for me. Except, it’s in reverse. It’s Williams, candidate B, who’s taking the more extreme position. Still I think Williams will largely win the audience.

It’s also easy to see this as a male/female dynamic. H.D. makes a suggestion, plausibly insightful, asking only for self-reflection on W.C.W’s part. Williams responds to her, in much more forceful rhetoric, defending his freedom, saying in effect when you say “sacred” I hear “heretic.” I think a great many observers of gender roles would see this as a stereotypical exchange. I agree*, but I could imagine this same exchange with the genders switched—less common, but possible. And it certainly occurs in a same gender situation too.

Something else that came to mind as I read this was a division that was made in an influential essay at mid-century, something that was still current when I was in school. This month I re-read that essay after Kora in Hell  and the telling exchange I took from its prologue. It’s by critic Philip Rahv, published in 1939, and its title “Paleface and Redskin”**  sets out the framework of its thesis, something that professors still thought relevant when I was being taught. The title is a distinctive dichotomy Rahv had observed in American literature. This paragraph from Rahv’s essay summarized the two types:

…the redskin glories in his Americanism, to the paleface it is a source of endless ambiguities. Sociologically they can be distinguished as patrician vs. plebeian, and in their aesthetic ideals one is drawn to allegory and to the distillations of symbolism, whereas the other inclines to a gross, riotous naturalism. The paleface is a ‘highbrow,’ though his mentality…is often of the kind that excludes and repels general ideas; he is at the same time both something more and something less than an intellectual in the European sense. And the redskin deserves the epithet ‘lowbrow’ not because he is badly educated—which he might or might not be—but because his reactions are primarily emotional, spontaneous, and lacking in personal culture. The paleface continually hankers after religious norms and tends toward a refined estrangement from reality. The redskin, on the other hand, accepts his environment, at times to the degree of fusion with it, even when rebelling against one or another of its manifestations. At his highest level the paleface moves in an exquisite moral atmosphere; at his lowest he is genteel, snobbish, and pedantic. In giving expression to the vitality and to the aspirations of the people, the redskin is at his best; but at his worst he is a vulgar anti-intellectual, combining aggression with conformity and reverting to the crudest forms of frontier psychology.”

Rahv ostensibly doesn’t favor either side. His observation, made by a man who could claim to be an immigrant, outside observer, was that American Lit was binary and divided with authors on one side or the other and no synthesis, and that this was a bad thing. ***

Palefaces and Redskin Potatoes

Pale faces and redskins, or 3 artists and some spuds.

 

It’s easy to see that divide in the H.D. and William Carlos Williams exchange. H.D. in the moment captured in her letter to W.C.W. is paleface, and Williams is redskin. Rahv expends most of his examples on novelists, and Modernist novelists like Hemmingway and Faulkner and Sherwood Anderson he feels all fail to a significant degree due to redman tendencies. But Modernist poets weren’t really in either camp as Rahv defines them. Ezra Pound could be claimed as either, and even in the two early pre-Modernist poems I’ve just presented here he tries on each personae: in “Grace Before Song”  a pious poet in service of art who will be personally forgotten and in “In Thus in Nineveh”  as an unheralded poet who will be remembered because the people value the lively if imperfect vitality of his verse.

Feel free to consider Rahv’s classification system as silly, outdated, or even distasteful. I myself consider it an amusing parlor game kind of thing, more subjective than Rahv thinks it is, and as subject to superficial oversimplifications as taking a “Which Disney Princess are you” quiz. ****

I wasn’t going to include any audio with today’s post, but after spending a day avoiding completing this post so that I could play with orchestra scoring, I figured I could read a couple more sentences also from Rahv’s 1939 essay backed by a short example of what I was coming up with. The player’s below.

 

 

*Even though Williams and English language Modernism in general coincided with the rise of women’s independence and citizenship, and even if women were participants in this cultural revolution, that doesn’t mean that Modernist men were invariably feminist—far from it. There are things to admire about W.C.W. for sure, but even in my limited reading of his work I keep getting this weird vibe from him where women are concerned.

**Yup, Rahv went there with the casual use of the racial slur. As literary culture goes in this era, totally non-remarkable and non-controversial. The first college I attended, where I heard of Rahv’s essay, had named its sports teams The Redmen, a just  more polite term. I had a tiny part in asking this name be changed. In Rahv’s defense I’ll say that he was a Jewish heritage immigrant from the Pale of Settlement. If life experience is knowledge, he likely “understood” ethnic slurs as deeply as any of us.

The kind of dichotomy Rahv lays out has analogues in modern discussions on just how street a rapper is, or debates on if performance poetry can be “real poetry.”

***From the luxurious wisdom of history, I found it fun reading the essay to see who of his contemporaries he thought was fatally damaged by this inability to join the strengths of both groups. He seems to give obvious paleface T. S. Eliot a passing grade, though noting that he had to leave America. Rahv says “Faulkner’s horror stories have long ago ceased to have any recognizable value.” History disputes Rahv there. Hemmingway is just a retread Natty Bumppo he says, an arguable case still today (even though I’ll take the other side on that one). Emily Dickinson gets an atta girl notice as a more or less successful paleface. No, additional reflection since 1939 has discovered that Dickinson is a redskin with paleface trappings.

****I’m Jasmine.

An exchange from the Prologue to Kora In Hell

William Carlos Williams Kora in Hell  is an unusual book. Its subtitle: Improvisations  promised me more than it delivered. Improvised or semi-improvised poetry, that true Jazz poetry where the author composes on the spot from themes or from spontaneous inspiration is something I admired and—to a degree—practiced in my youth. The improvisations of Williams’ book are usually classed as prose poems, but I don’t find much music in them nor a sense of surprise or discovery. They do reflect the influence of Dada and Cubism, and if I could hold my attention on them longer, they might still bring some pleasure and illumination to me—but so far I haven’t been able to do that. But nearly half the book as published is prologue and that was more rewarding to read.

One can get a real sense in the prologue to Kora in Hell  of where Williams found himself a century ago when it was written. There’s a lot of self-assertion, a lot of names dropped, a lot of debates on poetry and art where Williams as the author of the piece gets to be not just a debate participant, but the moderator, editor, and director of the debate. Poets Ezra Pound, Mina Loy, Wallace Stevens, Marianne Moore, T. S. Eliot, H. D. and Alfred Kreymborg make their appearance. In visual arts Duchamp, Man Ray, and Charles Demuth are referenced. Earlier this year I also noted that a forgotten Modernist poet and editor Orrick Johns has one of his poems quoted in the prologue without attribution.*

The point Williams seems to be making over and over again in the prologue is that he is just as important, connected, valid and artistically insightful as any of these. One can easily view this assertion in a multi-valent way. Williams could easily have felt isolated and left out, now resident in New Jersey and earning his living with a bourgeois job** as a physician. And however genteelly it’s couched, most artists must engage in self-promotion—it’s unlikely that any ego-less man or woman ever set out to write a poem or paint a picture. And the point he’s making, that he, Williams, has something worth considering has  since been validated by the canon-setters.

In the case of two poets, Pound and H.D., Williams has a personal history, having known them in his college years. And it’s an exchange of letters with H.D. excerpted by Williams in the prologue to Kora in Hell  that I used for today’s audio piece. In her letter H.D. is offering gentle advice regarding something Williams has written. She’s noticed some stuff that seems derivative and that she feels doesn’t represent Williams’ individual inspiration. She sets that observation in the context of a writer’s calling and the sacredness (in her view) of the artistic enterprise.

HD and WCW

Two initial American Modernist poets: H.D. and W.C.W.

 

Williams, the home team here, gets to respond in the bottom of the inning and he shrugs briefly before thundering. He doesn’t really address the substance of H. D.’s feedback so much as he jumps on the “sacred” sentiment it’s couched in. Sacred in Williams’ mind is associated with singular artistic criteria, the kind of thing that Eliot and the New Critics of High Modernism are starting to create in a revised standard version—and he’s again’ it. When Williams says “There is nothing sacred about literature, it is damned from one end to the other” it sounds as a ringing iconoclastic statement, but what does he mean? Is he saying “There’s so much crap around that folks think is great art, so who should care what little mistakes us Modernist innovators make.” Or is it something else? Is he perhaps saying something akin to a maxim I repeat here often, that “All artists fail.” Is Williams claiming that to attempt some impossible sacredness, forgetting that the artist will fail, will harm the work from that intention?

There is nothing sacred about literature, it is damned from one end to the other.

He then closes, in a sentence as musical as anything in the prose poems that follow, with a Dada litany. A half a century later, another Dada-influenced artist who influenced me, Frank Zappa, would phrase the same principles when he said his artistic rule was AAAFNRA, “Anything, anytime, anywhere for no reason at all.”

I’ll have more to say on this in a follow-up post, but this is long enough for one sitting and it’ll give me a little space to talk about the music in today’s piece. I got to use two new components in composing this. The opening section features a fine pipe organ virtual instrument from Garritan. In a vary real sense, the pipe organ was the first, wholly mechanical, embodiment of the synthesizer, and I personally can’t play or compose for it without thinking of Michael Barone and his long-running radio show “Pipe Dreams” featuring that instrument. The orchestra sounds are from Sonuscore’s The Orchestra which is a novel approach to orchestral virtual instruments. My initial encounter with using The Orchestra mirrors most other reviewers: it makes adding orchestra colors simpler than most while giving indications that it can be used deeply if one gets under the hood of the default ensembles.

This may be a good time to explain how I use virtual instruments here, and particularly orchestral instruments. I’m thinking that many of our casual listeners when they hear Dave or myself chanting or singing away with everything from a string trio to larger ensembles that I’m just dropping in some loops or samples from a recording. There’s a good deal of that done on the Internet with poetry and I won’t knock it.*** After all, I subscribe to the maxim of Duke Ellington’s that Peter Schickele sustained “If it sounds good, it is good.” However, because I consider myself, despite my limitations, a quasi-musician and an intentional composer, I choose not to do that. Those string and orchestra parts are played,  on little plastic keyboards or with a guitar MIDI interface. Sophisticated musicians probably already know that because even while using orchestral instruments my harmonic framework is either based on rock’n’roll/blues and their common “three-chord trick” or on older drone/modal folk music traditions.

So the opening H.D. section of today’s piece is a three-chord trick, something that any garage band or punk musician would understand. And the William Carlos Williams part that follows is simpler yet harmonically, based on just C to D major chords, though the color notes of the electric guitar solo extend that slightly. When someone asks what kind of music I write I’m at a loss for useful words. I’ve said extended folk music and I’ve said punk orchestral.

To hear me present the epistolary dialog between H. D. and W.C.W, use the player below.

 

 

 

*As I said when presenting John’s “Blue Undershirts,” it’s possible that Williams, who praised the lines he quoted and used a similar though extended expression in his anthology staple “The Red Wheelbarrow,” might have thought that Kreymborg wrote them, since he quotes them while praising Kreymborg.

**I have no idea of Williams’ intent in that “day job” choice—or even how good or bad he was as a physician—but given the latency and indirectness of writers and artists impact on their fellow human beings, such work may be a useful adjunct to the writing life. I myself spent nearly 20 years of my working life in the lower levels of nursing. As I told my wife recently in a moment of clarity, I figured that if I couldn’t help myself at least I could be some help to others. Young artists: consider this.

***I must also mention modern hip-hop production which has developed a class of composers who are very adept in using samples, bits of recordings, and timbral eclecticism in a way that if someone had described it in the mid-20th century it would have seemed the very essence of an elite and esoteric avant garde, and thanks to a blessed (as in The Beatitudes) audience, and a good dose of the ever-popular folk music elements: intoxicants, sex and violence, they’ve made widely-heard popular music with it. This strikes me, along with Bob Dylan completing the Modernist revolution in poetry, as the most significant and surprising artistic events of my cultural lifetime.