It’s been tough to plan and work around poetry or music this month in Minneapolis.
Every time I write a sentence like that one, I start to compose what I think will be a concise account of why that is – and I find I can’t do that well enough, partly because there so much to say. To try to put down all the things I’m feeling and thinking in this time of daily governmental offenses and stalwart self-less resistance? Impossible – I go the whole gamut, and these instances and reactions don’t wait their turn, queue up to go one at a time: all the emotional and thought-mode flavor combinations rush to be present.
I’m going to assume some of you already have some sense of the constant lying, the retributive violence, the self-congratulatory joy in inflicting pain, and even the sloppy indifference to a lack of competence or good administration.* This operation is like someone took one of our mad and mentally diminished king’s speeches and sought to make them a battle plan: and so the incursion goes on and on, jumping from half-truth to 100, no 200, no 500 percent less truth, never really making a point or achieving an objective, becoming instead an example of how one can, without any checks or accountability, say or do anything (however stupid, cruel, or shameful).
“I must be powerful,” thinks our mad despot and his dukes and vassals – “for I can do something so badly, with so little care, crowing with pride about hurting my own countrymen!”
Those who don’t know this? You’ll need to find out more elsewhere. I urge you to do so. Those that are sure I’m the deluded one? Why are you still reading today? I will be getting back to literary poetry soon if you come here for that.
Yes, I’m tentatively trying to get back into finishing new musical pieces, though events may continue to make that difficult. I do have this for today: another version of the definitely not a topical song“I’m on Fire (and I’ve got mountains of ice to melt)” composed by Parlando alternative voice Dave Moore using some words borrowed from speeches by 19th century American abolitionist Wendell Phillips – but this time instead of Dave’s own voice and piano it’s a solo performance recorded on a cell phone back in 2014, accompanying myself on acoustic guitar. Between these two versions, I gave preference to Dave’s, not just for the justice of having him sing it, but because back when both versions were new, most listeners thought that my performance repeated the chorus too often. Thinking of that now, I’ll adapt William Blake: maybe the only way to know when we’ve said that line about melting mountains of ice enough is to say it too much.
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*What a lousy sentence that is! People being shot, even killed, families separated, reverse Raptured cars with vacated driver’s seats. Doors busted down with battering rams without a warrant. Supreme Court nod-and-a-wink approved detainments where folks are grabbed, thrown down in the snow, handcuffed, taken to a makeshift jail for a day or so, only to be released with no charges or immigration regulations violations. Tear gas, pepper spray, and “less-lethal” weapons used more likely for sport and revenge than necessity – and I still have the officiousness to end my sentence by objecting to these agents poor organization and the incapacity of their leadership to make a detailed, defensible, consistent case for the necessity of their actions.
When you listen to the song you can hear below you might doubt me – but it is not a topical song written about recent events. It was written by Parlando alternative voice Dave Moore in 2014. Dave’s the keyboard player and the better singer in the LYL Band, and that same year I recorded us playing it with him singing and pounding the piano, and me squawking in with some backing vocals and skidding guitar. Dave tells me today he was writing the song while caring for his father in the times surrounding his dad’s final illness, and he was thinking of the work of someone that goes even farther back than 2014: the 19th century American Abolitionist and speaker Wendell Phillips. Dave’s father was a preacher and a man of strong principles, but Phillips would take a backseat to no one on standing and speaking for his convictions.
As to Phillips’ convictions (as I’ll do once more before this post is done) I’ll try to be brief – but in considering the refrain in “I’m On Fire” it’s important to note that people, even ones who somewhat agreed with Phillips, noted he was a little off the scale in his fervency whenever talking about injustice. And Phillips’ stand on slavery was not the popular, acceptable opinion when he began to express it. Phillips started his Abolitionist calling knowing full well that another prominent Abolitionist speaker had just escaped being lynched by a mob. Dave’s energy with the piano in today’s piece rightfully reflects how Phillips expressed himself.
The Boston Public Garden memorial to Wendell Phillips. Ice or ICE not visible in this picture.
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And so it was that Phillips was once asked, “Why are you so fiery all the time Wendell?” Phillips replied “Yes, I’m on fire – because I have mountains of ice before me to melt!” More than a hundred years later, a man who became a U S Senator from Minnesota, Paul Wellstone, liked to remember that Wendell Phillips quote. And Dave Moore, our singer and songwriter remembers Phillips too – he has a long-running cartoon in a neighborhood paper where he often brings out Wendell Phillips quotes to assay our analysis and actions regarding current injustice.
Phillips’ ice metaphor, that cry against intransigent injustice will make it seem like Dave was freshly writing about Immigration and Customs Enforcement (ICE) in Minneapolis today. Once more I’ll be brief, but I have foreign readers here, and they might not know what’s been keeping me from working on this Project much in this new year. The following section has been written and rewritten a half-a-dozen times in the past week, and I’m largely going to surrender to highlights, because those that know and see what I’ve seen this past week are already saturated with the things I might try to describe, and those that have certain other judgements that benefit, comfort, or blind them, likely require more vision correction than I can prescribe.
Our home state of Minnesota is currently suffering an intentionally vindictive armed incursion by secretive forces sent by our mad and ill-tempered ruler, who says, right out, this is his retribution. Yes, this is also ostensibly about immigration regulation enforcement, but this is largely a pretext, as the rules for immigrants are being changed week to week, and the enforcement seems capricious and sloppy. If this was some laudable reform targeting people they tag with rote-repeated epithets of being murders, rapists, and gangsters, you’d expect constant published detail of accomplishment, with hundreds of chapter and verse rap sheets to show their work – yet to a significant degree, no one knows completely who is being taken out of their homes, cars, schools, or workplaces. The point, or the result, is to make a great many feel they could be next, particularly if they object to this, since that’s being a “violent agitator.” These so-called agitators are often standing on sidewalks and street corners in their own neighborhoods, on their own blocks, even on their own doorsteps – or they are at their own shopping sites, schools, or workplaces, armed with but cell phone cameras and whistles to call others similarly “armed” to protect them (somewhat) from the masked squads. Some step forward to try to get the names of those who are being detained (since the secretive authorities do not reliably release those names) and getting near enough to hear that risks their own detention. Their cameras minimize, but do not eliminate the street beat-downs and such that would otherwise occur. “Less lethal” bullets, chemical sprays and grenades also get used. They call some of these actions “targeted,” but the targets seem out of focus. US citizens with accents or too much skin color get grabbed, and if you squint a First Nations citizen can look like one of those foreigners. Gotta be hard to deport a Lakota – where’s the plane to fly too? Maybe they put them on a plane, draw all the window shades, make zoom-zoom engine noises, and then let them off?
Given the poorly trained, ineptly led, error-prone outside troops, and all their quick with the ordinance reflexes, these encounters with cruelty-is-the-point apprehensions aren’t prayer circles. Many locals observing this in their neighborhoods are angry and disgusted and they are shouting out shames and curses.
If you’ve seen reports this past week you’re horribly aware that one of these neighborhood observers was shot at close range in the face and killed in front of their spouse, or you might have seen another raid during which a woman driving on one of the busiest avenues in Minneapolis comes upon a half dozen ICE vehicles blocking the street. Some of the agents wave her to turn off to a side street, then others decide she must be a protestor and break a couple of her car windows and drag her out the vehicle still caught in her seat belt as she wails “I was just trying to get to my doctor’s appointment.”
Well, I live between those two avenues. When urbanists talk of walkable neighborhoods they’re likely not thinking of walk-up atrocities, but this is where I, and my little family, live. I’ may have written too much or too little of these things, and just as with other attempts to write about this experience this week I’m not sure I did an adequate job of it – but no gentle poetry sung today though I have this old song that sounds right. Click the audio player below and let poet/cartoonist/pianist Dave sing his song. No player? It hasn’t been detained, it’s just that some ways of viewing this blog don’t show the player, and this highlighted link will open a new tab so you can hear it.
The month’s name January is derived from Janus, the Roman god of gateways and change, conventionally portrayed as a being with two faces: one looking forward, one backwards. And we have a new year, a place to do that – although this New Year’s Eve, someone revived a quote ascribed to a telegram sent by Dorothy Parker to Robert Benchley on New Year’s Eve 1929: “You come right over here and explain why they are having another year.”
A Roman bust of Janus. You know one of the tough things about having a beard? Trying to trim it symmetrically in a mirror. Now imagine Janus trying to do this.
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I have a musical piece today, one using words by an unusual Modernist, Vachel Lindsay who published this poem in 1929. Though the poem mentions footprints in the rain, when I read it, I immediately thought of walking or riding my bike in the snows of Minnesota. In the up and back of those trips, often taken in the early morning, I’m conscious of the fresh tracks I’m putting down in the snow – that they are marks of me being there, moving, while I think of this act. On the return leg, I sometimes get the notion to look for my tracks from earlier in the morning. Looking down, I can never find the exact pattern of my treads – more falling snow, or wind, or others tires and feet have obscured them.
“We met ourselves as we came back.” Vachel Lindsay for January
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What was unusual about Lindsay? This later poem of his wouldn’t look so out-of-place on the page with his contemporaries, but he came to poetry through a long tramp, and several times before WWI he took off as an itinerant on long walking journeys through parts of the United States carrying a sheaf of poems he called “Rhymes To Be Traded For Bread.” To some degree this romantic notion worked, but his breakthrough occurred when he was noted by Poetry, the Chicago-based magazine of the new literary poets. After that, Lindsay became known for public performances of his poems in a boisterous reading style with the energy of waving arms and a booming sing-song vocal cadence that he unapologetically called “Higher Vaudeville.”* Some likened his performances to Jazz, but as I’m made a point of noting in other posts here: in the 1920s that didn’t mean “an art music consumed mostly by connoisseurs,” but a raucous and uninhibited sacrilege. Some recordings of Lindsay exist, but I don’t know how he would have read this particular poem. I decided to do a full Rock quartet setting, and I’m banging a tambourine as I performed his words. You can hear that performance of Lindsay’s “Meeting Ourselves” with the audio player below. No audio player? You don’t need to retrace your tracks, some ways of reading this blog suppress showing the player – but you do want poetry with electric guitar and a guy slapping a tambourine, don’t you? I don’t ask for bread, but you can use this highlighted link which will open a new tab with its own audio player. Want to see the poem on the page or read along? Here’s the link to that.
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*Lindsay has largely fallen off the literary canon podium, but his hyper-expressive reading style might have traveled via incorporeal and non-literary spirit mode to the more outlandish Slam poets of my lifetime. I’m unaware of any other poets back in the last decade called The Twenties who sought to emulate Lindsay’s controversial style exactly, but live performances of literary poetry, even with music, were not unheard of. Carl Sandburg before he became a published poet, tried to make his living giving lively Chautauqua lectures on the topics of the day, and after his Pulitzer Prize for Chicago Poems, he took to performing folk songs along with his poems at readings. William Butler Yeats, whose poems so sing on the printed page, floated a serious effort to have his poems performed with music, only to receive decidedly mixed reviews for the results. Both of these poets knew Lindsay and had some appreciation for his verse. It might be supposed that by being so outlandish in public, Lindsay allowed them cover for a quieter, but still expressive, poetry performance style.
How about Afro-American poetry performance? In the reverse of his “poems for bread” trade, Lindsay recommended Langston Hughes poetry to others after Hughes, while working as restaurant staff, handed diner Lindsay some of his unpublished verse. Hughes recognized the wider modes of Jazz and Blues ahead of many, and melded it into his poetry. Lindsay’s poetry reading style also referenced extravagant preaching styles, and early Chicago Black Modernist poet Fenton Johnson, a contemporary of Lindsay, put that rhetorical expression into his poetry.
It’s New Year’s Day. Most everyone’s looking forward, but I’m going to double-jump into the past, first to exactly 99 years ago, and then to more than 160 years ago.
I do a lot of stuff from the Modernist era of the first part of the 20th century here at the Parlando Project, but of course not every poet was going all Imagist or Surrealist or whatever new ist was their jam. And one can well note that written poetry in this era still retained a bit of the mass-media or populist strains that are harder to find in our 21st century.* Non-literary-circle people then still might read poetry or write it without taking a stand between Amy Lowell or Ezra Pound.
An example: on New Year’s Day in 1927 an 80-year-old woman wrote an anniversary poem to her husband of 61 years. Susan Emeline (Partain) Hudson was my great-great-grandmother, the mother of my great-grandfather for whom I am named. Her New Year’s poem isn’t looking forward much, but then her husband would die later that year, and she would die within two more years. Instead, her poem recounts how the couple met and gives some hints about how they came to settle in Iowa.
Susan Emeline Partain was born in 1847, the daughter of a carpenter who lived in Chattanooga, Tennessee. Tennessee’s stance during the American Civil War over slavery was somewhat unique. It was a slave state, but it joined the Confederacy only after the war broke out – though eventually supplying the second highest number of troops to the retain slavery side.** Yet the state government also officially withdrew from the Confederacy shortly before the end of the war, and this move meant that Tennessee didn’t come under the short-lived era of Reconstruction when the federal government sought to remediate the former slave-holding and secessionist leadership. Tennessee was also the place where the very first WASP-supremacy KKK terrorist group was founded, right at the end of the Civil War.
But I go forth, and here’s the background of the tale Susan Partain Hudson put down. That husband was David Hope Hudson, a young corporal from Ohio who enlisted in the Union Army. His unit was fighting in Tennessee, and involved in some of the bloodiest battles of the war. On and around New Year’s Day 1863 they are engaged in the Battle of Stone’s River. Union forces suffered 32% casualties over 4 days of fighting. For those that aren’t military history nerds, that approaches Charge of the Light Brigade levels of carnage. That summer these Union forces take control of a critical railroad/riverboat center, the town of Chattanooga. Later that year, in the autumn, they are in the battle of Chickamauga as the Northern forces seek to expand their control in that region. Once again, casualties on both sides are terrifying, 28%, and given that 150,000 troops were engaged (counting both sides) it was the second bloodiest battle of the American Civil War to Gettysburg.
Chickamauga was a Union defeat. The forces that included David Hudson had to fall back to Chattanooga. The Confederates, bloodied by the equivalent casualties to the Union at Chickamauga, didn’t press on against the retreating Union army, choosing instead to surround and cutoff the town of Chattanooga. For about a month, the Union army is besieged with no supplies able to get through. Hardtack and salt pork run low, are rationed. And here I need to leave off details, as I haven’t found a detailed account of that month for the Union army troops, or for remaining civilians.***
Susan Partain was a teenager living with her family there, and it’s possible they remained in the town, or at least in the area. Without details, one can only speculate on what things were like for Susan and David during this siege. I’d hold that it’s possible that the cup of water that her poem speaks of was symbolic of more than that, though the poems says the exchange happened in summer and the siege-stage of these battles was in the fall – but clearly this matter is much more risky than a simple flirtation between two young people. Susan’s poem doesn’t give us those details, but her audience – chiefly her husband now near the end of their long-life together – wouldn’t need for that to be said.
We also don’t know everything Susan’s family felt. Hudson family lore says they might have had Union sympathies, but also that they weren’t supportive of Susan’s romance with the soldier. In the summer of 1865, Susan’s mother died, and that may have broken some constraints for her. David, still stationed in the south, was mustered out in October 1865, and he and Susan eloped off back to Ohio for that New Year’s wedding.
Two things I notice in this marriage certificate: that it may have been necessary to be in another state for Susan to marry without her father’s permission, and that David, or whoever filled out the Jan. 1st date, may have suffered from the still common error of writing 5 first before revising the year with the current 6.
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Susan never saw nor stayed in contact with any of her family back in Tennessee until 1905, by when many of her elders were likely dead and she wanted to find out what had happened to her siblings. The newly-married Hudsons also didn’t stay in Ohio – Susan was viewed with suspicion there too. The place they chose to raise a family (eventually, 11 kids!) was Iowa, where David got work in a coal mine.
“From Kisses we make mankind:” Dave and Susan Hudson with 10 of their (take that Nigel Tufnel) 11 kids. The tallest boy on the front left is Frank Hudson, my great-grandfather (who looks a lot in this picture like my dad in his younger years).
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But it’s still a love song – these are my kin, and as Paul Éluard would have it, their kisses helped make me. They married, looking forward on New Years Day 1866. And Susan made this poem that says they celebrated a long life together in 1927 when looking backwards on another New Year’s. Some other little things before I hand you over to the song made with Susan Partain Hudson’s words. Susan mentions being struck by David’s dark moustache and goatee. A few decades ago, I took to that facial landscaping, proximally because I don’t like the irritation of shaving those areas – but who knows, maybe something whispered the idea from some DNA, and my wife only knows me, from the day we met, with that face. And writing poetry? At least one of Susan’s grandsons did too, as I have seen a poem written by my grandfather to my father on his birthday. And the other half of this Project, music? Susan’s family name, Partain, is common in Tennessee. In days when literacy was far from universal, the exact written spelling of a name was not strictly enforced, and a leading spelling variant of Partain is Parton, also commonly found in Tennessee – in particular, with one Dolly Parton. Family genealogies have found no link whatsoever, but that hasn’t stopped me from stretching beyond fact to joke about “Cousin Dolly.” I should also mention that much of what I know about this story comes from work of a later David Hudson, my uncle, who put together information remembered or gathered by other older relatives.
Susan’s poem in chords-sheet form for those who’d like to sing it themselves.
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I’ll leave it to you how much Tennessee heritage can be found in the song I made from my great-great-grandmother’s poem, but like Dolly I compose a lot on guitar, and I also plucked a little mandolin to frame today’s musical piece. You can hear it with the audio player gadget below. Has any such player eloped from your view? Well then, I offer this highlighted link that will open a new tab with its own audio player.
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*Today is also Public Domain Day in the US, works first published in 1930 are now freely available for reuse. Each year a couple of places celebrate with a list of the works now freed-up. In previous years I’d gratefully see a handful of poetry collections or poems in those lists. This year? Nothing highlighted in the summaries. I think this is a double reflection. By 1930 both poetry as a mainstream publishing genre and the Modernist revolution have entered a downward slope, and landmark collections of verse are rarer; and for putative readers in 2026, it’s likely understood that only a handful of readers will be looking for poems to gather.
Populist poetry, everything then from newspaper and radio poets, to greeting cards with short verse, to scrapbook keepers, to folks who simply wrote their own verse for themselves/friends/family without any aim of publication – all these are hard to locate in our current year. “Instagram poets” and others who use social media are perhaps something like this past group. Early in this project I suggested that this kind of poetry, even “bad poetry,” wasn’t harmful to literary poetry, that it wasn’t any different than other “high arts” that tolerated examples that were simply vin ordinaire.
**Wikipedia says Tennessee also supplied a relative high number of Union soldiers for a Confederate state.
***The siege was lifted when a couple of Union Generals named Grant and Sherman sent troops to break the Confederate encirclement, but of course there was more fierce fighting around Chattanooga related to that effort.
Frank Hudson 