Summer 2021 Parlando Project Top Ten, numbers 7-5

Let’s continue or count-down to the most listened to and liked Parlando Project piece over the last summer. Today we move to the half-way point, numbers 7 through 5.

Wait, maybe you’re new here. Parlando Project — what’s that? Well, for a little over five years I’ve been presenting combinations of various words (mostly poetry) with original music. The words are mostly poetry not just because poetry has musical elements built into the form, but because I like compression of expression. Typical Parlando pieces are 2 to 5 minutes in length. You may notice that I’m generally not doing poetry written during your lifetime or even mine, and that’s not by choice. American copyright law puts up heavy barriers to reuse of copyrighted work; but on the good side I happen to like some of what went on in the first quarter of the 20th century, and so you’ll see a lot of work by the pioneering Modernists here. One of the benefits of this Project is that I’ve been rediscovering in public what they did to “make it new,” and finding some of their ideas worthy of being revived today.

What kind of music then? I like to think I vary that, composing and arranging for different instruments and sounds. Some pieces are just voice and acoustic guitar (my first instrument), some have fuller arrangements using orchestral instruments, and some pieces use an off-the-cuff rock band. And some pieces use instruments you don’t hear all that often in America, or synthesizer sounds created or modified for the composition.

7. Answer July by Emily Dickinson  We left off with Dickinson’s childhood classmate and “You should really publish your stuff Emily” friend Helen Hunt Jackson. So, it’s a natural segue to this piece that was a bit more popular last spring.

What was I saying about unusual instruments? The main motif in this one is played on a sitar, the South Asian instrument that had a short vogue in The Sixties. Some composers and musicians who encountered sitar took the rich musical heritage associated with it to heart and incorporated, and still incorporate, elements there into music played on other instruments, but unless one wants to invoke a “Don’t be late for the Human Be-In” soundtrack vibe, the sound of the sitar isn’t something Americans get to hear much now, but it’s still a beautiful sound.

I’ve never actually owned one of the complex and somewhat fiddly sitar instruments, though I’ve used more than one “electric sitar” approximation over the years. The practical compromise I’ve come to favor is to use MIDI “virtual instruments” where I can play my guitar with a MIDI pickup and the sounds that come out are decent approximations of the real acoustic instruments playing that note.

Dickinson’s poem I used here is one of my favorite expressions of the ineffability of the summer season, and it seems a lot of you agreed this summer. To hear it again, (or for the first time) you may see a player gadget below. No gadget? Then this highlighted hyperlink is another way to play it.


6. Over the Roofs the Honey-Coloured Moon by Bliss Carman.  I had fun last month riffing on some late 19th/early 20th century poets’ names, but Canadian poet Bliss Carman’s name easily equals Algernon Charles Swinburne in promising the most in Yellow Book Aestheticism of that period. His audaciousness in the collection that introduced this piece Sappho: One Hundred Lyrics  was to “Imagine each lost lyric [of ancient Greek poet Sappho] as [if] discovered, and then to translate it.”  The first part of that description, which hints at mediumship is outrageous enough, but even the second clause reminds me of my own audacity in avidly translating work from cultures and languages I’m not native or intimate with.

His synthetic results still have their attractions. Sappho — however real and in what particulars she was, thought, and created in her reality — hardly exists. We have but two or three mostly complete poems, and a scattered field of quotes and fragments. We have thick books binding up Shakespeare’s works, and facsimile editions of Emily Dickinson’s manuscripts with every alternative and scratched out word, and yet we reinvent those authors and their work every generation or so, using such ample literary evidence and fresh insight. Carman was more cavalier with Sappho, and the best historical studies and literary scholarship can point out what are likely errors or mere imagining in this man’s early 20th century Canadian Sappho — but Sappho was a lyric poet, and lyric poetry exists in charged moments that seem as present. Lyric love poets may lie, may often prove untrue even if they are sincere during their moments, but isn’t it also so that we may accept those momentary lies if they are beautiful enough?

The player below will let you listen to my performance of one of Bliss Carman’s imaginings of Sappho’s lyrics, or if you don’t see that player, imagine this highlighted hyperlink which will also play it.  Beautiful enough? You decide.


Dickinson-Carman-Millay Collars and Neckwear

Taken maybe 80 years apart, three poets, their collars and neckwear. Each have their mouths basically in a neutral state though Carman’s is somewhat downturned and Millay has just a hint of a knowing smile. Dickinson seems to be looking right into the colloidal silver on the plate and saying, “I know, I burn you.”


5. Recuerdo by Edna St. Vincent Millay  Speaking of lyric poets able to interrogate romance, let’s move on to Millay. Each of the bolded listings in this Top Ten is a hyperlink back to the original post when I discussed the work in somewhat greater length, and with this one I compared Millay’s impact in her time to Joni Mitchell 50 years later.

I also wrote about the ambiguity I sensed in the tale of the infatuated young couple and their interaction with the old woman on the ferry. In that reading the old woman is meant to stand, imagistically, for economic and social inequality coexisting in the romantic night within the last time we called a decade “The Twenties.”

Maybe I’m reading too much in this, but it’s as if a great portion of the whole of the novel The Great Gatsby  was condensed into this poem that I can sing in four minutes. Well perhaps the 20th century cared more for novelists than lyric poets, but both Fitzgerald and Millay went through a period before their deaths when they were down-rated and thought too tied to now irrelevant past decades. Fitzgerald got reassessed in the second half of the 20th century while Millay’s examination of society and literary value continued to languish. Now our own Twenties can find its own reading of that previous Twenties. Reading, or listening? Here’s my performance of Millay’s “Recuerdo”  available with the player gadget where present, or with this highlighted hyperlink where it isn’t.

Helen Hunt Jackson’s August

Let’s start another roundabout Parlando story. We’ll move from one less-famous poet to another lesser known one through a third one. You’ve heard of the third one.

When I was a teenager and started writing poetry I was quite surprised that I did that. Surprised, and impressed with myself. Writing poetry wasn’t something anyone else I knew did; that meant that the nature of my achievement was clouded, obscured. That singleness added to my sense of achievement with those first poems. I recall sending off a poem to something that presented itself as an Iowa poetry contest. My expectations with that weren’t clear either, but eventually I noted that I wasn’t contacted as the winner.

I considered that result. I thought I was writing poetry and was therefore in the cohort of the greats in poetry anthologies and textbooks. Yet, apparently, I wasn’t even the best poet in my small lightly populated state in a random year. Puzzling.

Well, I was  in the cohort of those that wrote poetry, I just didn’t grasp then how large the numbers that unusual choice would total up cast against the population of the world. I have the same blank opportunities to solve when writing a poem — then as well as now — as prize-winning poets, or those who have reached the minor levels of success poetry is allowed in our culture. What achievement the result reaches — or the different, more quantifiable, question of what level of recognized achievement it reaches, that’s what differs. Still, I’m their equal before I begin.

Emily Dickinson may have had similar questions. When she reached out to Thomas Higginson, the Atlantic magazine contributor, with her packet of verses, she presented herself as wondering about the level of achievement she had reached. Many wonder now if she was being coy, but do we know what she knew, or what she suspected about her poetry? Dickinson’s situation was different from mine* in that though she lived in a smallish town, it was a college town, and so we know that some others in her circle had literary interests, even if her immediate family apparently didn’t. Her friend, eventual sister-in-law, neighbor, and increasingly suggested love interest Susan Gilbert wrote poetry and read Dickinson’s verses. Dickinson also made a habit of sending some of her verses in letters and with gifts to others, though I don’t know enough about how they reacted to that verse. Higginson testifies that she tended to wear people out.

But Emily Dickinson was not the most successful poet from her small town during her lifetime. Another woman, almost exactly the same age, eventually became a well-known writer and poet in her time.

That writer, born Helen Fiske, was a grade school classmate of Emily. Unlike Dickinson she fell into the usual path of marriage and motherhood, marrying at 22. Her first husband Edward Bissell Hunt may have been a remarkable person himself. Dickinson herself thought so. Dickinson wrote in a letter after meeting her friend’s husband that he “Intrigued her more than any man she had ever met.” Edward Hunt was a military engineer, and when the Civil War came, Edward Hunt set to developing some sort of self-propelled torpedo. It was while working on that secret weapon he was killed in an explosion at the Brooklyn Navy Yard. Eventually she remarried, adding the second married name as Helen Hunt Jackson, and became a successful writer. Among those that spoke well of her poetry was Ralph Waldo Emerson and that same Thomas Higginson who Emily Dickinson reached out to.

Wikipedia says that Louisa May Alcott, Sidney Lanier, James Russell Lowell, and Christina Rossetti all had poems anonymously included in this collection too.


In 1876 while visiting Amherst Fiske sought to encourage her childhood friend to submit a poem to an anthology she was working on that was to be called “A Masque of Poets.”   This anthology had a gimmick: none of the included poems was to have an identified author. The reader was going to have to encounter the poems each without the authors reputation or a preconceived notion of what that author would be on about. As it turned out, Helen Hunt Jackson had to work hard at convincing Dickinson to allow one of her poems to be included. In the end, Dickinson’s poem was given a special place in the order of this book, as the last poem in the collection (other than a long verse novel that makes up the last half of the book).

We leave this part of our story with an oddity: Emily Dickinson almost never saw her poems in print while living. Perhaps the most widely seen exception to this was her poem that appeared without her name in The Masque of Poets, and this happened because of the efforts of her friend and successful poet who we now have forgotten. What Emily Dickinson poem was it? The one that begins “Success is counted sweetest/By those who ne’er succeed…”

Sucess is counted sweetest in Masque of Poets

Here is Emily Dickinson in print. But no name.


So now let us return to Helen Hunt Jackson and her poetry, now little known and even littler read. Today’s audio piece, “August”  is from her sonnet sequence containing a poem for each calendar month. Here’s a link to the text of the sonnet.

Jackson’s view of August is distinctive, and it’s far from upbeat for this last month of summer splendor. She starts by calling it silent** (save for the somewhat sinister connotation of insect hums). She calls what color August has “pathetic,” “vain,” and “artifice.” And loss of summer is at hand. Besides being widowed at a young age, Jackson had more than the usual 19th century history of young death of siblings and children. Perhaps that undercurrent of loss informed this cold pastoral of a warm month.

Content aside, this poem’s sound is exquisite, with assonance and internal rhymes richening it. Many lines break, or can break, in the middle, which I decided to accentuate in my performance. I found it a better poem than its forgotten status and elements of 19th century poetic diction would have it be.

The player gadget to play my musical performance of Helen Hunt Jackson’s “August”  is below for some of you. If you don’t see that player, this highlighted hyperlink is another way to play the performance. I’ve been working with some larger arrangements and noisier stuff in the past week, so it was a nice change for me to perform this piece with only acoustic guitar and a little subdued bass. Besides my music, I added one extra line of my own at the end of Jackson’s sonnet, my small exchange writ in water from one unknown poet to another.


*Oh, there’s those little matters of differences in talent and level of innovation. But let’s leave that off for now.

**I am noticing much less birdsong in this dry August from the dawn choirs of let’s say June.

Answer July

It’s time once more to perform the brilliance of Emily Dickinson. Today’s text, “Answer July”  is Dickinson in her seeming simple mode. Read quickly, it might strike one as almost a nursery rhyme or maybe as one of those playful listing or counting folk songs. Here’s a link to the full text of the poem.

But when I looked again, “Answer July”  appears to be a debate or interrogation between nature’s seasons and the consciousness of souls, a rather strange thing to put into such a brief and unfancy piece of poetry. Emily Dickinson loves strange, and if you’re a reader or listener who’s stuck around here, you’re comfortable with it too. What’s being debated here?

It starts with the poem’s speaker — let’s call them Dickinson, though obviously, it’s a creation of Emily Dickinson, and as its creator she knows more than this character — demands of nature’s mid-summer month of July just where certain summer things are. July, like a party in a legal dispute or sidestepping debater replies that the things that would allow it to produce those summer things are not in its control. There could be a supply chain issue, and maybe the real problem is with its supplier: the spring month of May.

Bee in Flower by Heidi Randen

Where is the Bee — Where is the Blush? Got it right here Emily.


May is called in. “Nay,” says May. Tell me about supply chain issues! I’ve got suppliers too, like winter. Subpoena the jay, a winter bird.

The jay is sworn in. Look I need food in the winter they testify. Where’s the leftover autumn corn, the periods of hazy-thaw less-severe cold, and those burred seeds still in their protective casing? The implication here is that we could next look to question fall, though by now we suspect fall will blame summer. And round and round we would go.*

Dickinson gives us two lines that may be a break in the circle. When July, the first month/season to be questioned ends their reply, I think July suggests that May/spring is not a calendar month, but instead a creature of the questioner in the poem. The syntax is broken and unclear here, so who speaks each word is uncertain — but at the time I performed it, I went with this understanding (in paraphrase): July replies (answering to Dickinson’s opening line of questioning) “You’ve called on me to answer. Well, I’ve got one for you, ‘Where is May?’ Come on, you (thee) answer! Because I know what you should answer when asked about where things spring from: ‘It’s me.” That is, Dickinson, July questioner, is responsible.

I could be wrong on that somewhat convoluted reading. It could also be July saying “If May was here, they could answer your question for you (thee) and for me too.”

And then again, as the poem ends, the jay has a cryptic answer to where it can find its winter sustenance: “Here — said the Year.” Unlike summer, winter seems like a time of scarcity, but nature provides the jay what they need. There the implication is that Dickinson’s original complaint to July about where are the summer things she wants is being answered by the jay saying that nature will provide, if your soul seeks for things rather than asking for it to be summer ample and at every hand. This reading of the last line is what drew me to my more complicated reading of the earlier “Answer Thee — Me —” line. The poet Dickinson is telling the character of the questioner in her poem that it’s not the seasons that provide, it is the soul that seeks that finds. She is her own spring, summer, harvest and survival.

Musically I had some fun with this one. On one hand the harmony is simple, a I V progression, but I used some less-common voicings for the Ab (it’s an AbMaj13) and Db (a DbMaj7) and I played sitar.**  Why not! Emily loved strange, and if you’ve stuck around here this summer, you have to have some tolerance for that. The player gadget will appear below for some of you, but don’t ask July where it is if you don’t see the player. Instead, click this highlighted hyperlink, which will open an new tab-window and play my musical performance of “Answer July.”



*Once again, I’m working on my theory that Emily Dickinson’s sharp intelligence was surrounded by a family that worked as lawyers, and that may have provided a frame for some of her poetry. As I write this there happen to be many supply chain issues ascribed to the impact of the Covid-19 pandemic and other causes, but neither legal precedents nor logistical savvy is the real subject for this poem, rather it’s about a Transcendentalist understanding of how the soul must partner with nature.

Emily Dickinson herself was also a gardener and the Dickinson household raised a wide variety of food and feed crops. Any farmer or gardener knows that it’s not just the calendar page that brings in food and crops, but effort and seeking.

**Well, not exactly. I’ve never owned a real sitar. I have owned an electric sitar with a plastic rounded bridge that sought to emulate their buzzy sound. I’ve used MIDI “virtual instruments” that allow a guitar or keyboard to play sitar notes with attempts at following sitar articulations. Today’s piece uses a Line6 Variax guitar that has a sitar sound setting, and it tracks guitar string vibrato precisely, a necessity for this piece’s main sitar line motifs.

Spring 2021 Parlando Project Top Ten, numbers 4-2

There’s another repeat author in this segment of our spring 2021 countdown of the most listened to and liked pieces here over the past three months. More than that, the number 4 and 3 positions are held by two installments drawn from the same poem, parts of my long serial performance of “The Waste Land”  that wound up this year. It makes sense then to deal with them together.

4 What the Thunder Said Part 1 and What the Thunder Said Part 2 by T. S. Eliot  As much as I enjoyed the challenge of taking on the range of Eliot’s poem and making explicit its implicit musicality, “The Waste Land” is not what many of us go to for poetry comfort food. The last section of the great poem was by all accounts written while Eliot was hospitalized with what is now considered depression. Most of his poem is a horror story, still and all twice-baked crafted, written by a man whose meticulousness had him working in a bank — and then revised by Ezra Pound, as merciless an editor as ever existed. That part of the poem can seem a cold-case puzzle to be solved, the likely source material for a volume by Dan Brown. It’s not.

It’s a series of songs made up of the overheard and the remembered bits caught inside Eliot’s educated mind, half in Parnassus and half in a Hogarthian vision of early 20th century London — and then we get to the last part of the poem, “What the Thunder Said,”  which is more Eliot’s own song, a long somewhat improvised song that was written, he later confessed to Virginia Woolf, in something of a trance, without even bothering to understand what he was writing. Up until then the poem, however despairing or dark, has been crowded: voices, characters, changes of scene. This last part is Eliot alone with himself. The waste land, the desert title-place that we only meet in this last section, isn’t the condition of post-WWI England or Europe, the waste land is Eliot alone with himself in only lightly-disguised self-pity, which eventually leads to a final expiation in its concluding portion.*  The accelerating four sections of “What the Thunder Said”  that I presented this past April are the journey of that mind.

You can hear the performances of Part 1 of “What the Thunder Said” here with this highlighted hyperlink, or if you see it, with the player gadget below.


And part 2, with this player, or alternate hyperlink.


So, what’s the next poem in our countdown after all that sturm und drang?


How Many Flowers

Seriously, singing poetry can be an even deeper inhalation of a poem. Here’ are my chords if you’d like to sing this poem of Dickinson’s.


2 How Many Flowers by Emily Dickinson  Just Emily: gardener, avid botanist, Transcendentalist meditator, a legal mind filing a concise argument in the case of the universe, folding her words up. It takes me a minute and a half to sing it.

I had some fun in my original post on this imagining how close she came in her poetic diction to writing an early 20th century Imagist poem, but we may have little trouble translating on the fly from her 19th century-isms to the vivid moment she observes: the observed or unobserved flower, the present and presence — and the future, their scarlet freight. Like much great poetry, maybe like all great poetry it doesn’t need me to prattle on about it, it just needs you to sing it, to carry that scarlet freight.

The player gadget that many of you will see is below for “How Many Flowers”  by Emily Dickinson. Can’t see the player in your reader or browser view? Here’s the alternate highlighted hyperlink.

*Unlike the other 3 parts, the 4th part of “What the Thunder Said”  didn’t get the listens and likes to make this top 10, possibly because of its length or general disinterest or dismay from the audience in its rough, less-exactly recorded nature. Still the electric guitar playing that builds from about 3 minutes in and finally becomes the brief solo that starts at 4:45 is as pure a piece of musical-emotional expression as I’ve ever played.

How Many Flowers

After all the storm and breadth of remarking on my several-year presentations of “The Waste Land,”  the totality of which takes more than an hour to listen to, it’s time to return to a smaller Modernism. To start that off, let me present a tiny poem by Emily Dickinson.

Wait, you said Modernism. Dickinson? Well, some early Modernists recognized that Mid-19th century American poet as a Modernist who forgot to check the calendar.*  And as I remind readers here often, early Modernism was very enamored of short, seemingly unpretentious poems, and today’s piece “How Many Flowers”  has those elements:

How many Flowers fail in Wood —
Or perish from the Hill —
Without the privilege to know
That they are beautiful —

How many cast a nameless Pod
Upon the nearest Breeze —
Unconscious of the Scarlet Freight —
It bears to Other Eyes —

Indeed, with some editing/translation it could be a full-fledged, circa-1916 Imagist poem. Dickinson’s poem speaks of plural flowers, and that’s in tune with the point it’s making, but an Imagist might have simply changed it to a singular flower, or at least an instant of several flowers. The negative-pathetic fallacy of the flower’s ignorance of its beauty might have been excised. So, if William Carlos Williams or H.D. had written it in the 20th century it might have arisen like this:

The flowers fail in the wood
And perish from the hill.
Is there a privilege to know
That they are beautiful?

There is a breeze, and in it
Some nameless pods —
Seeds of scarlet freight
Bearing from eyes to eyes.

More or less the same thought and brevity, just a removal of the remaining 19th century Romanticism that Dickinson retained even as she would question it, and of course the word-music changes some. Today I chose to keep Emily Dickinson’s word music and original expression intact. But either poem is making a declaration about art: that it’s often created because it must be, out of an urge that is as omnipresent and mysterious as flowers, and that like flowers it’s part of a reproductive system that allows many seeds for few flowers and even fewer idle reflective eyes to see the flowers, this passing fecundity and unnecessary beauty.

All flowers, like all artists, fail, but “Unconscious of the scarlet freight…”



I present this piece today as I read two memoirs by little-remembered early-20th century Modernists — and from those little-noticed flowers I noticed some others, eyes carried in the wind to my eyes that I hope to present here soon for yours. But for today, we have my performance of Emily Dickinson’s “How Many Flowers.”  with a player that will land and bloom for some of you, and this alternative for those who don’t see the player, a highlighted hyperlink that will open a new tab to let you play my performance.


*In our 21st century — with grace of a scholarly culture once blind but now can see — the depth and subtlety of Dickinson’s vision and the thought that she’s able to stuff into tiny poems is now widely celebrated.

Musicians Wrestle Everywhere — Emily Dickinson hears songs as they are created

I’ve just spent much of a day with Emily Dickinson. I’ll tell you it was enjoyable, not the least because there is a factor in many of her poems: they grow when you spend time with them.

It started late last night. I noted that I had been looking at early examples of “jazz poetry,” poetry from the previous Twenties that celebrated jazz music and jazz musicians. A thought occurred to me: I’ve gone too far into #NationalPoetryMonth without a Dickinson poem. Which of her poems might deal with music?

“Musicians Wrestle Everywhere”  came up in searches, though it was not a Dickinson poem I’d seen before.*  Here’s a link to the full text, and here’s another to a manuscript of it in Dickinson’s own hand. After my first reading of it, my reaction was, “I don’t know if I can fit this with the jazz poetry. While ‘Musicians’ is the first word, the musicians largely go away and we’re off into Dickinson’s headspace.” Well, my second thought was, “This could work some other way and time, disconnected from the Jazz poetry stuff. Let me see what I can do about making it a song for later use.”

Dickinson attracts composers. She often uses a folk-music meter adopted also by many Protestant hymns,** and the compression of her poetry leads to short texts ideal for art-song. “Musicians Wrestle Everywhere”  has already been set by eminent American Modernist composer Elliott Carter.

I didn’t want to go toe to toe with Carter. My mood today was to make this somewhat foggy poem more immediately understandable on first listen, while Carter emphasized the poem’s more abstract thought-music. Wrestling with Dickinson’s words and my desire today as I tried singing it and working out my music, I decided to make some minor changes to the words*** and to add a refraining line. The former tactic is generally frowned upon, and many a living author will forbid it. The later, repeating a line or section, is generally allowed. One of the reasons that page poetry often seems less effective as song is that we have a strong desire for repetition in song. I think if even when silently listening we are “singing along,” and we desire to know when some part is recognized as coming around again. Refrains bring us into the song, even on first listen.

So, what is the poem’s point that I hope to make clearer in my song and performance? I believe that Dickinson is saying that musicians, and herself, extract from the time and vibrations of crowded reality our new tunes, rhythms, timbres, and harmonies. Those composing ears aren’t merely transcribing. They might refine melodies within the strife of conflicting environmental sounds, but to some larger degree they are hearing the unheard music that does not exist, though founded or surrounded, in observable reality or philosophy. In the final verse she mentions some think what inspires composers is the pagan “music of the spheres” or some choir of angels, or the departed in heaven — the later a place the skeptical Dickinson is not sure of.

So where does new music come from, if not just imitation, transcription, a cosmic mechanism or ancestral angels? This is the reason for my refrain, to make more adamant what I think Dickinson may be saying. Why are our April trees budding? Why is there new life in our spring without our trying or thought — and in notion of our stewardship of the Earth, despite our neglect? “I think it’s that new life” the now refraining line repeats. Life, creation, poetry, music, it wants to happen.

Elmo Hope is a thing with feathers

I would be ahistorical to suspect that Emily Dickinson’s piano improvisations were anything like Elmo Hope. On the other hand, if my lame joke tempts you to listen to some of Hope’s recordings…


By the time I’d worked out a meaning to Dickinson’s poem I’ve come to think that it is a compliment to the Jazz poetry I was looking at before after all. The Jazz poems of the previous Twenties I’d seen mostly observed the musicians and provided a listener’s appreciation of what they were putting down. In Dickinson’s poem, she’s the musician, the composer themselves.

By late this afternoon I’d completed the music and recorded the acoustic guitar, bass guitar, cello and violin parts for my song setting of “Musicians Wrestle Everywhere.”  The player gadget to hear my performance is below for many of you, but if you don’t see it, this highlighted hyperlink will open a new tab to play it too.


*She wrote over 1800 poems, so another fine thing about exploring Dickinson is that there can easily be a new poem to experience. Which reminds me to point out that this project has over 500 pieces to experience here too.

**Yes, I know the bit about how you can sing many Dickinson poems to the “Gilligan’s Island Theme,”  or “The Yellow Rose of Texas,” or as this post reminds us, many hymn tunes. The post also has a short summary of what’s known about Dickinson’s musical involvement. The author notes that Dickinson was familiar with mid-19th century string-based dance music as well as having some ability to improvise on piano. I wonder at the Celtic and African strains that might have crept into Amherst by the 1860s. The only instrument Dickinson mentions in her poem is the tamborin, which appears to be an African derived hand-held drum instrument.

***I wanted to modernize the syntax and usage a bit to add to the clarity for the contemporary listener. A line in the third verse uses one of the few archaic terms in this poem “Dames” which has largely fallen out of American usage even as a faux-genteel slang term for women. By expanding the following term from “Men” to gentlemen I echo a somewhat outdated formality and may have helped make clearer that the “bright Majority” of “vanished Dames and Gentlemen” are the dead of the past.

Winter ‘20-‘21 Parlando Project Top Ten, numbers 4-2

Today’s report on the most listened to and liked pieces featured here over the past quarter will show three experiences of the mystery of winter. So, let’s return to our countdown:

4 Twilight Fallen White and Cold  by Joseph Campbell.  I seem to have become something of a promotor of this little-known in the United States Irish-born poet who I still know little about. He published a series of poetry collections before the end of WWI, and then his poetic output dropped off, for reasons I’m not yet clear on, though the politics of his country’s decolonization struggle may have contributed. This piece using his words that a lot of you liked and listened to may be the most mysterious of today’s trio.

Best as I can figure it, this winter nature landscape poem may be an expression of his nation’s detracted state and situation, particularly in the invocation of ancient earthworks (raths) and burial mounds — but I cannot plumb the entirety of the refraining line of “wounds of Eliom/weep on me” that I feature in my setting of Campbell’s poem. Eliom is a plural word for gods, sometimes used for polytheistic gods, sometimes used for the singular monotheistic diety, and as it may be here, used for angels. If that’s so, then the starry constellations, the winged vampires, the curlew birds, the floating mists, the carrying sound of the ocean are all the Eliom, the angels in this changed winter nighttime vision.

To hear my setting of Campbell’s poem, you can use this highlighted hyperlink which may open a new window with a player, or in many cases, you’ll see a player gadget below to directly play it.


What the Story Tells Itself by Kenneth Patchen

It’s been too long since I’ve said this: thank you for coming to read or listen here.  It’s become harder for me to respond to comments or properly promote this project, but I appreciate so much those who come here, listen, and let others know what the Parlando Project does.



3 The Snow is Deep on the Ground  by Kenneth Patchen.  Lawrence Ferlinghetti, whose words we met earlier in this countdown, would sometimes remind folks that he wasn’t really part of the Beat Generation, even if he was associated with others who might have been so thought. Patchen is a similar case, or perhaps more so, in that his poetry career started in the 1930s,

As with many of the best Patchen poems, even the political ones, this is a love poem, delicately poised between the enchantment of love and the world that allows the shattering of it. If one can fully absorb the illumination of this poem, as with some of the best of Patchen, you would cry tears of joy and sadness at the same time.

You can hear my performance of Patchen’s “The Snow is Deep on the Ground”  with this highlighted hyperlink, or if you see it, with a player gadget below.


2 The Sky is low  by Emily Dickinson.  Some years back in this project I once compared Emily Dickinson to one of those unexploded, yet potential, bombs that are still unearthed in Britain or Europe from the World Wars. Originally she was found as the creator of curious little poems from an eccentric woman, then as a prescient 20th century Imagist, and now in our deconstructed age we can stare at one of her tiny poems, and like one trying to follow the decent of a single flake of snow in a flurry, fall as far as one can follow.

You can read, or listen to my performance, of “The Sky is low”  and find a whimsical nursery rhyme, and find enough enjoyment in that — but let it stick in your memory or repeated ear and a little dialog about predestination, first causes and fate is discernible. To listen, use this hyperlink, or you may see a player gadget to directly play it below.


One more post in the Top Ten countdown to go, and then we can move on from the mysteries of winter to the mysteries of spring.

The Sky Is Low

This little poem by Emily Dickinson seems at first so slight, little more than a tiny winter nature lyric using the risky literary trope of the pathetic fallacy* deftly enough that it doesn’t cloy. The language is almost entirely simple and plain-spoken, but in such a short poem the words that aren’t entirely clear may reward further attention.

The Sky is low manuscript

Dickinson’s handwritten manuscript for today’s poem from the collection of Amherst College.


The Imagists that came decades after Dickinson’s work weren’t much for the pathetic fallacy, but if one ignores that element— something possible to do because it’s so swift and unpretentious about it — this poem does work like an Imagist poem or like one of the models Imagism sought to emulate, the classical Chinese short poem.

Let’s start right at the first line, and the first word that requires some figuring out. “The sky is low, the clouds are mean” sets our stage. A “low sky” and “clouds” would indicate that this poem’s day-moment is overcast, but what does “mean” mean? It would be easy to think it’s saying, pathetic-fallacy-wise, that the clouds seem angry and spiteful. I think many modern readers will hear this sense primarily, and I cannot eliminate that Dickinson intended that at least as an undercurrent, as it seems a pair with the complaining wind we meet in the second stanza. Yet, in the context of the sentence that makes up the first stanza, my best thought is that she is presenting the clouds as a secondary definition of “mean” (now somewhat obsolete) as shabby or stingy. The image she’s setting up is that it’s overcast, but it’s not a snowstorm, there’s only a modicum of that mentioned: a specifically singular “flake of snow,” so that may be all these clouds are producing.

Our snowflake does have feelings. From its actions, aflutter in the wind and singular enough for the eye to want to follow it as an individual, it seems indecisive about what route to take over the landscape. It might fly high (“across a barn”) or low “through a rut.” It’s frozen (sorry, can’t help myself) in a moment in the poem and we never find out. In its concise way, Dickinson’s snowflake is like Robert Frost’s chiding portrait of his friend Edward Thomas: two possible roads, and the snowflake thinks it’s important to choose one.

The pathetic fallacy gets stronger as the second stanza begins. A cool or cold gusty wind is presented as if it’s complaining for hours on end. For an old/weak bicyclist like myself who tires of headwinds that seem to always be in my face no matter that one has changed direction, this is an ascribing of malice and forethought that I can appreciate. If you look at Dickinson’s own manuscript, you can see that she considered using a legalistic term**  “some parties,” but “some one” seems the broader and better choice. Here, in a different aspect from the snowflake who thinks it has at least a binary choice, it appears the wind is saying it’s been diverted or prevented from something.

In this small poem’s presentation, these two things are joined. The snowflake thinks it can decide, but we know the wind will send it where it directs, but the wind thinks it has been in someway enjoined. Pathetic fallacy aside, it cannot choose, meteorological forces and barometric lines will send it where they will.

In the last two lines, Dickinson doesn’t tell us how it comes out — she refuses to leave her poem’s lyric moment. Her final line brings one more uncommon word choice. It has it that “Nature, like us, is sometimes caught/Without her diadem.” A diadem is a ruler’s crown, worn to signify that the wearer, well, rules, decides. Once more, the pathetic fallacy is invoked: nature is the decider, but for the poem’s moment they have momentarily forgotten to put on the device that lets them take on that power — but in a tiny aside (“like us”) Emily Dickinson says we actual humans, who can actually think, feel, decide are sometimes also in this situation, we may blithely follow what seems like a free will choice or complain that we are forced into our directions. Which is it, really? Did you forget your diadem?

Read this poem, or many an early Imagist poem or classical Chinese poem, and it may seem a miniature painting of a mundane scene. We may be charmed briefly, or we may think, “Oh, that’s too slight to be a thoughtful poem.” Did Dickinson consciously or unconsciously intend what I see here? The number of times she was able to pull off effects like this poem can produce, and the subsidiary writings demonstrating how she thought***  indicate that even if she didn’t consciously work out the complexities underneath her simplicities in some grand and lengthy inner symposium, she put herself in the place where she could receive and express these charged moments.

As usual, I’m going to perform “The Sky Is Low”  with some original music. The player gadget should be below, but some blog reading software won’t show it. If so, this highlighted hyperlink will also play my musical performance.


*The pathetic fallacy is the tactic of ascribing human emotions and thought to inanimate objects or forces. Despite the literal words of this poem, it’s not debatable that snow does that, and the wind doesn’t really have some angry dispute.

**I’m not sure how many scholars have considered that Dickinson grew up in a family of lawyers, and even though as a woman that field was not open to her, it’s likely that some of that was picked up by her avid mind.

***Long footnote ahead! What can we gather from how Dickinson used this poem that might indicate how she considered it? This poem was “published” in a personal letter to the wife of a couple that were long-time friends of Emily. The husband in the couple was Josiah Holland, a medical doctor and lay preacher. By the time this poem was written in 1866, Josiah had become a well-known journalist, lecturer, poet, and author. He was a principal in the Springfield Republican  newspaper which famously published seven of Dickinson’s poems during her lifetime. He had just published one of the first full-length biographies of Abe Lincoln, and would a few years later found and become the first editor of Scribner’s Monthly.  His wife, to whom the letter with the poem was addressed, Elizabeth Holland, has no known literary work — but read the letter by following this link.  Here one may get the sense of how another important literary personage who Emily Dickinson interacted with, the formidable Thomas Higginson, remarked about how Dickinson wore him out. The amount of philosophical legerdemain, reference, and zen parable in this short letter is striking to me. Did Dickinson expect Elizabeth Holland to understand that letter?

Emily Dickinson’s correspondence and friendship with the Holland couple seems to have been one of the most stable and ongoing in her life, equal to those who were Dickinson’s blood relatives. Whatever bonds were between them, this letter shows the expectation of considerable intellectual understanding, and for “The Sky is Low”  to be enclosed indicates that Dickinson had goals beyond the simplistic for it.

Fall 2020 Parlando Project Top Ten, numbers 4-2, and what is it that you’re trying to do anyway?

Before continuing with our count-down of the most liked and listened to pieces here this past autumn, let me remind newcomers what the Parlando Project does. We take words, mostly other people’s words, usually poetry, and combine them in different ways with original music.

“Oh, you mean you make them into songs?” Well, sometimes, yes. But not always. I don’t always sing the words, thus the project’s name.

“So, it’s spoken word with some music in the background.” You could say that about some pieces, but I want the words and the music to interact, comment on each other. The music isn’t just background.

“Music with chanted words. Are you a rapper?” I wish. Can you imagine the commercial potential of old guys chanting poetry, often to acoustic instruments? House-party! I’ll bring the Gerard Manley Hopkins, Emily Dickinson, and Fenton Johnson! No, I’m not a rapper, but you could say that I’m more a separate branch growing off the roots of things that rap also grew from.

“Are you some kind of beatnik?” Wait, where’s my black turtleneck, I’m going to reverently listen to some cool jazz records now while trying to remember what was so important about being intoxicated first. Oh, what was the question again?

“The last few numbers on the Top Ten had those orchestral instruments. Are you setting poetry texts to music in the tradition of art song?” One limitation of this project is that neither Dave, nor certainly I, possess bel canto voices that can realize what most art song composers do. I’m conceptually doing what art song composers do, but the empirical results reflect my outlook, performance resources, and limitations. Also, like Yeats, I fear that elaborately sung melodies obscure the impact of the words.

OK, back to the countdown. If you’d like to read what I wrote when I first presented these pieces, the bold-faced titles are hyperlinks to that.

4. O Let Me Be Alone Awhile  by Emily Bronte.  You could feel bad for Emily B. that my Halloween piece using her spellbound poem didn’t make the Top 10, but this one, an introvert’s shout-out that some readers and listeners might have felt was especially appropriate in this pandemic “everyone stay at home” time, did. The player to hear this should be below, but if you don’t see the gadget, you can use this highlighted hyperlink instead.


Autumn Indian Pipe and Dickinson Poems cover

The first edition of Dickinson’s poems featured a picture of Indian Pipe flowers in bloom, but like all flowers, autumn, if nothing else, ends their term. Indian Pipe (also called Ghost Pipe) is a strange plant that doesn’t use photosynthesis, but rather gets its energy from fungus. The picture was chosen because avid botanist Emily liked this unusual plant.


3. As if the sea should part  by Emily Dickinson.  From Emily B. to her American admirer Emily D. we go. For all the mythos about Dickinson’s later years of not leaving her family home, does anyone ever ask if being cooped up in a house with a family half-heartedly uninterested in poetry was all that comforting to her? In her most vital writing years, Dickinson still roamed some physically—and mentally. I’ve had some fun over the years here suggesting musically and graphically that Emily Dickinson would rhyme with Sixties psychedelia. “As if the Sea should part”  is certainly mental traveling of the purest sort. The player for this performance is below, or if you can’t see the player, you can use this hyperlink.


2. The Listeners  by Walter de la Mare.  When I started this project I thought I’d be rocking out more often than it’s turned out to be the case. Part of that result comes from being increasingly unable to record with Dave or others, and some from enjoying the novelty of being able to score and play orchestral instruments. My version of de la Mare’s weird minimalist ghost story isn’t crossing the hardcore boundary, but this is  a rock band arrangement that sounds good turned up on your speakers. The player to test that claim should be below, or if not, this highlighted hyperlink will play it.


The most popular Parlando piece this past summer was…

Forever and Crumbling.  So if I disregard the outsized number of listens Hopkins’ poem got, this summer’s most liked and listened to was another Emily Dickinson-based piece where I joined two short and somewhat abstract Dickinson poems into what I thought was an interesting combination. I called my combination “Forever and Crumbling.”

“Forever”  talks about the localized instant we all live in, that Dickinson lived in too. “Crumbling”  talks about decay happening from a chain of those instants. In theory the two pieces, that Dickinson wrote separately, change/enlarge when related to each other. That and my musical performance of them is my contribution. Your likes and listens say that some of you found that worthwhile.

I’ve sat here most of the morning and now into the afternoon trying to write something useful in addition. If we are charged to “live in the moment,” 2020 makes that especially challenging. If we seek to halt and reverse the cobwebs and rust on our ideals and nation, like Dickinson’s “Crumbling”  it will take more than an instant’s act. Nothing I wrote today brings what I can believe adds anything to our instant in time or repairs our current state of dilapidation. When I first posted this piece in the first week of June, I felt the same awkwardness. I have faith (or is it only habit?) that art and beauty have worth, but it takes a lot of faith some days.

Wishing all of us justice and mercy, and some wisdom to see a balance of those.