I could have chosen another poem for Easter, but besides this one’s song-setable qualities, “The Easter Flower” is a poem about a Christian holiday written by a non-believer.
No, let me strike that casual term, “non-believer,” which doesn’t seem to fit McKay. He was a life-long radical, an unwavering believer in workers rights and social justice, always stalwart against colonialism and racism. As a radical, black, gay, immigrant man these beliefs were no simple balm to his soul, and by that I judge his beliefs to be strong and tested. McKay was also a confirmed skeptic, analyzing situations and sometimes changing his views on how these goals may be achieved, but that doesn’t alter those beliefs.
Now some of that may or may not resonate with you. Believers who do not share your beliefs can be rough companions to your reading or listening. Rest easy, this poem isn’t like that.
First off, like Wordsworth’s famous “Daffodils,” this is a poem about a past-tense experience, something that exists for the poem’s singer only as a limerent memory as he sings of the flower. McKay who grew up in rural tropical Jamaica spent much of his life in more northern climes. The weather forecast for Minnesota calls for a few inches of wet snow for this Easter, and if non-tropical Minnesotans find this disappointing, all the more so for McKay.
So, the lily in the poem is likely a childhood Caribbean memory, and the plant the Trumpet Lily, the Easter Lily, is not native to these then English colonies. It was introduced there by a missionary who brought it from Japan in the 19th century. I don’t know if McKay knew that, but this flower he remembers at Easter time amidst thoughts of home is a colonial artifact as well as a Christian symbol.
Claude McKay and the flower of his complex memory
In the poem’s second stanza McKay modulates the flower memory, displacing the pale flowers in his mind by liking it to a formation of “rime,” the hoar-ice that forms along shapes when foggy water vapor freezes rapidly, uniting the poems present voice in a colder Easter with the warmer past. The end of this stanza and the beginning of the next form a vivid spring rebirth image, as devotional as any Christian mystic could have written.
And then the poem let’s us know that McKay isn’t a Christian. Indeed, at the time the poem was written he was an atheist.* Therefore, the remembered image of the Easter flower is extraordinarily alienated from the singer. It’s in the past, in the ground of a country he no longer lives in, it’s a religious symbol not of his religion, it’s a non-native plant introduced by colonialists, growing in a climate of soft fragrant April nights, not a sleety cold northern city.
How easily we might skip through this poem, hearing but it’s lovely sounds and involuntarily resonating to the memories of a holiday with flashbacks of chocolate bunnies and jelly beans—or for devout Christians, one might hear only the inspiration of the image of the tomb earth giving way in resurrection. But that’s not this poem. McKay ends saying that he, “a pagan,” is overcome by this none-the-less, worshiping at another religion’s shrine. Why? From what? I think he chooses to make it undetermined. Homesickness even for a colonial homeland he felt he needed to leave is there. A certain ecumenical mystery too. The sensuousness of the flower is an undercurrent, the night smell of the flower has pheromonic power.
To hear my performance of Claude McKay’s “The Easter Flower” use the player gadget below.
*In the last decade of his life, 20 years after this poem was written, McKay was attracted to the Catholic worker movement. After a period of self-searching he became a member of the Catholic Church.
In Minnesota there’s this thing, The State Fair, that’s hard to explain. Up to a couple-hundred thousand folks show up each day to it, for various hard to describe reasons. There are events, exhibitions, livestock judging, sales booths, musical acts, lots of fried and sweetened food that can be eaten by hand. You could describe it as an overgrown county fair, and as with those, there’s a midway with clanking and spinning rides and games of chance.
Rural and farm folks come to it from around the state, but it’s held in the Twin Cities, a thoroughly urban place, and most of the attendees that fill much of the fairgrounds are from The Cities. Some like me would be once rural folks, or children of rural folks. A place like the Twin Cities is full of those, people remembering that place not present in location or time, À la recherche du temps perdu, “In search of lost time.”
I came to the Twin Cities in the 70s, not directly from the small-town Iowa of my youth, but from New York, where there are fewer intimate thoughts of farmlands. Shortly after arriving, a woman I was in love with told me there was this guy on the local classical music radio station, who was no longer playing Liszt and lieder, but rather other stuff—Beach Boys, folk music, whatever. And she said: he tells stories about this small town he’s made up.
I stopped her there. I admired her smarts, the things she knew, but I know how those stories go I said: We’re ignorant and out-of-touch, those rude mechanicals. As the urban-cool Bart says in Blazing Saddles when introducing the Waco Kid to the little town: “You’ve got to remember that these are just simple farmers. These are people of the land. The common clay of the new West. You know… morons.”
“No, he’s different. If you listen, you’ll see.”
He had a 6-9 morning show. We listened together. He’d spin humorous stories of invented events and institutions between records. Some of it was sort of like Jean Shepherd’s shtick, still playing in New York on WOR radio when I left, but as she had said his take on small town life was different. His stories then often had a delicate balance between young Twin Cities residents, some of them college students with literary aspirations such as myself, and their hometown folks. He was generationally close to the former, but he often had them play their pretentions toward great changes for humor against the set in their ways but caring older generation back at the hometown. From my seat then between those two worlds, this was a high-wire act, and he stayed out of falling into the netting or sawdust.
He was also forming up a weekend radio show, that graveyard of radio without the reliable drive-time slots. He’d perform them live anywhere locally there was room for the hundred or so attendees. He modeled it on the radio country music variety show, something that still existed in my youth, but except for the Grand Ole Opry had died out. But instead of country music acts, most of which would have little interest to a metropolitan public radio audience then, he stocked his traveling stage with young musicians that played the West Bank bars and coffee houses around the Twin Cities. Some of these players played trad jazz or blues, some were folkie singer-songwriters, some were from the more museo-wings like Leo Kottke or bluegrass revisionists, others from a variety of old-time-music revivals. In recent decades everyone knows what to call this mixed-bag: Americana. But in the 70s no one did. This weekend show, Prairie Home Companion, sort of helped make that category up.
A man I knew once charged with programming a radio network liked to say regarding the success that show eventually had: “Prairie Home Companion is a lousy idea for a show—except for a show with Garrison Keillor.” A lot of folks doubted that thought, and while some attempts to do “something like, only….” have had decent runs, no one else ever made it work to the degree Keillor did.
There seems to have been a reason that the younger, moved to the cities generation in his stories often had writerly ambitions, because Keillor continuously worked a side career as an author of short stories, poems, novels, columns and opinion pieces. The thing that connected that side and the radio show was “The News from Lake Wobegon,” a varying length monologue that came near the end of each show.
This wasn’t standup, it was storytelling. Unlike the comic and parodistic skit elements that became an increasing part of the show over its run, it wasn’t read direct from a script radio-drama-style, but told, and written entirely by the host. This was the small town and its history he’d made up in its most concentrated and alive form. It had that live performance immediacy. Occasionally there’d be short dead air pauses, some intended. There’d be things repeated, some as intended refrains. Moods and directions would be mixed, sometimes turning within the course of a sentence as it does in ordinary recounting. Is he thinking, and that thought interrupting his story?
Sometimes it was a rousing tale, a good-hearted shaggy dog story on some foible. Other times along with the humor was sentiment, mood pieces buffered inside rueful rural characters. Occasionally, framed through some youthful ambition, there’d be poetic asides and lines such as the passage I bring to your attention today.
Even with the framing, it was a very pure thing, and like most things of that sort, some loved it and others found it somewhere between meh and tiresome. Keillor had a slow, even-voiced recitative, a sighing oboe that could reassuredly uncoil some from a basket while leaving others sleeping inside.
Say it with me, long-time readers: “All Artists Fail.” I last posted 5 minutes of wailing electric guitar arpeggios over my fresh translation of a hundred-year-old French avant garde poem. I’m not going to throw shade based on either some idea of universal criteria for art or a proper recipe for entertainment.
I remember hearing a version that included the passage I perform today. Did I hear it live on the radio on a Saturday night decades ago? Did I hear it later, on a distributed recording? I can’t say for sure, but as this ending summer was beginning, I was on the northern shores of Lake Superior. The cabin I was in, when some spitting rain opened the pores and raised white hairs on the smooth surface of the lake, had a couple of books. One was a book length collection of pieces from the radio show re-cast as linked short-stories and published after Keillor’s first retirement from live performance in the 1980s.* Reading them was a good afternoon, but only this single small passage was drenched in déjà vu.
Still raining, still dreaming. Keillor reframed monologues from the show he’d ended into a book for my rainy afternoon years later.
The ‘80s jacket author photo surprised me. Neither the bearded ‘70s guy with the light suit nor the older man I remembered.
The State Fair in Minnesota means the end of summer, a lost time that can be returned to and can’t be returned to. Here are a few sentences that a man once wrote and spoke on the radio. I’ll speak them today. Gave them a title of convenience and the music I composed on my naïve piano and then performed with a small orchestra setting using three woodwinds, a flute, and a few strings. My thought is that Keillor’s words could sound different to you when not performed by him, illuminated differently in the Parlando Project manner. The player is below.
Don’t worry, we’re only taking a break from our regularly scheduled mix of various words (mostly poetry) with original music to tell the history of the Parlando Project’s alternate voice Dave Moore. So far in our story, he’s gone from poet to pioneering Twin Cities indie band lyricist to full-fledged songwriter to singer-songwriter-keyboardist for a two-person band of poets with instruments in about two years. If you’ve been following along, I’m the other poet.
How did this turn out?
Returning to 1980 after the release of the Lose Your Lunch Band’s Driving the Porcelain Bus recording, the two-man-poet-band thing seemed to be a problem. Around this time a handful of Twin Cities indie rock bands had eked out a local circuit of venues that would book them. This was all very tentative, and only sufficient to give bands the initial toe-hold on a career, and it wasn’t really open to something as sparse and loose as we were. Could we possibly have tried to push that square peg, a “hardly rock band,” into that circuit?
Perhaps. We started looking to fill out the band, with the drummer being the biggest problem. I had started to dabble with electric bass, and Dave’s Farfisa combo organ had left-hand gray keys which could be dedicated to keyboard bass duties in the Ray Manzarek mode. The first third was Jonathan Tesdell, a guitarist who had a set of congas, and who was drafted out of a commune down the street. Jonathan practiced and played with us for a few gigs on electric guitar, but I can’t recall us ever even trying the congas as a replacement for a more rockist drum set live. But after a few months, Jonathan left town, traveling light. I once heard that his Gibson Firebird electric guitar that he sold before packing for travel was bought by The Replacements’ Bob Stinson.
Next up was a very talented guy who I believe was working then in the live comedy and theater scene,* Dean Seal. Dave somehow recruited him**, and Dean played drums and bass. Of course, not at the same time, a limitation we overlooked because he was willing to play with us. Dean could write great songs as idiosyncratic as Dave’s, and he had a good singing voice (later recordings with Mr. Elk and Mr. Seal demonstrate his cabaret-ready performance chops***). Dean later went on to a long and unique career, leading the Minnesota Fringe Festival for several years, and in this century becoming a UCC minister who combined his theater and comedy experience with religion.****
Performing “Magnetized,” the rarely seen, full LYL Band live in the ‘80s. L to R: unknown drummer (see below) Dean Seal, Dave Moore, and Frank Hudson
Alas, Dave and I had sort of lost the fire to play out around the time Dean joined up. I’m not even sure if Dean could have been the singing drummer (harder than it looks) and songwriting voice that could have given Dave a rock-club ready band. With us, Dean played mostly electric bass, and he took a liking to a cheap Japanese copy of a Gibson EB0 bass that I had found in a second-hand store. We traded basses, mine for his similarly low-quality Made In Japan bad-translation-of-a-Fender bass. That instrument sits next to me as I type this, and I still play it often on pieces you hear here. Somewhere in the later ‘80s the LYL Band went, as press-releases still say these days, “on hiatus.”
Why? When I asked Dave today he said he hadn’t thought of that, but as we chewed it over I think it was the matter of both of us, in committed relationships and needing to pay the rent and bills at the lower edges of the economy, gradually converting the concept of the public band to a private joy.
But as that was, almost imperceptibly to us, happening, Dave’s songwriting took one more turn. The goth and gothic Fine Art lyrics and the agitprop and Dada characters of the early LYL songs were joined by unconventional and sincere love songs.
It’s more than 30 years ago, but I can still remember the first time I heard Dave sing this song, as I have heard Dave sing many songs before or since, stone cold fresh. We didn’t often discuss songs before playing them. Unless specifically working out a live set, we didn’t work out arrangements, run through the changes or discuss accompaniment. We just let it happen for fun or failure.
So, there we are in the 1980s. Dave’s standing at the Montgomery Wards electric piano, I’m no doubt sitting with my Cortez 12-string acoustic guitar with a DeArmond soundhole pickup. I’ve programmed a simple three-drum beat on a Mattel Synsonics electronic drums toy. I hit record on the cassette recorder. Dave hammers out some chords and I figure out the key and some kind of pattern as quick as I can. He begins to sing—and I suddenly realize this is, surprisingly, a love song, a damn fine love song, though still uniquely Dave. What do I think next? Well, that I had better not screw this up. Playing lead/melody lines on a 12-string has a catch: the two highest string courses are tuned in unison, but move to the G string and lower, and they jump up to courses tuned an octave apart. Listening to this now, I can still feel how I kept that in mind as I played. If music be the food of love, don’t lose your lunch.
I have some later, better-recorded versions of “(I Think I’ve Lost My) Total Recall.” The lyrics Dave wrote as a younger 30-something were good then, but when I perform or listen to this song now, thoughts of memory loss mixing with love are real as well as art representing the impact of love. As songs occasionally do, it’s gone from heartfelt to heartbreaking—but this is the moment I first heard it, and so, excuse the archival audio quality and listen.
As a bonus, although also low-fi, here’s what a putative ‘80s LYL Band as a fully realized rock band would sound like. We’d planned this gig at a Native American center with Dean Seal playing drums or bass on alternate numbers. We’d setup and sound-checked ourselves, and then left our instruments sitting on stands at the end of the building’s gym. As we left for the rest of the event before we played, four guys, unknown to us, went over to our instruments, and began to play them. They were pretty good as I recall, sort of blues-rock. We figured there was no reason to stop the better, volunteer musicians. They played a short set, maybe two or three songs or so. Later that night, the drummer asked if he could sit in for our set on Dean’s drums. Trusting in chance, that’s what happened. The song “Magnetized” is a Dave Moore lyric, another love song, but I think I wrote the music and sang it here. Once more it’s a cassette recording, taken from the vocal PA that night. You can hear me slightly off-mic trying to let the band know when I’m going to the bridge and walking over to let the rhythm section know that it’s time to end the tune.
*Someone should write a book on that circa ‘80s Twin Cities comedy scene, and yet oddly enough no one has. Louie Anderson, Liz Winstead, Joel Hodgson, Kevin Kling, Jeff Cesario—and I could go on—were all starting out in the Twin Cities in this era.
**Dave remembers he was working as a record store clerk for a time at the Wax Museum on Lake Street, and his manager there, knew Dean, and probably introduced them. Dave doesn’t recall knowing anything about Dean’s theater and comedy work then, only that he played bass.
***One story is that when Mr. Elk and Mr. Seal recorded an album at Prince’s Paisley Park they did it so quickly that it was the least expensive recording ever made there. Here’s some of their work.
It was an odd summer traffic-wise for the audio pieces of the Parlando Project, with listens quite slow in the first half of the season, and then picking up to the point that August listens were a near record. That increase in traffic (new listeners?) may be why we had no older, pre-summer audio pieces that made this season’s Top 10 (though one, “Poetry,” made a valiant run at it).
As we’ve done the last few Top 10 lists, we’re going to count down in trios until we get to number 1, starting with number 10.
10. Crushed Before the Moth. The Bill James style stat-freak in me has threatened to do a poet/listener batting-average post on which writers seem to get the most and least response. Without really running the numbers, my impression is that Emily Dickinson, who like Frost and Yeats retains a general readership as well as scholarly cred, still doesn’t always hit it out of the park in listens when the audio pieces use her words.
I’m reminded here of one of my favorite bits of baseball trivia, what pair of brothers hit the most major league home runs? The true baseball fan will have many candidates to choose from. The three DiMaggios? (Dom was a very good player, and some have heard of Joe). Or the Alou trio (who once made up an entire outfield of brothers). Or Boyers, Boones or Alomars. But the answer is Hank and Tommy Aaron. Hank had 756 home runs, Tommy crushed only 13—but add it up, and the Aarons come out on top not just alphabetically.
Emily Dickinson’s sister-in-law and confidant, Susan, is not a famous poet, but she shows a bit of the same Emily Dickinson flare in her poem we used for this. Emily has that Hank Aaron level achievement, but Susan had her at bats too.
9. Seventeen Almost to Ohio. In the several years I’ve been doing this, I still love how pieces arise obliquely as I look for material and research its context. At the end of July, I was looking for more info on Mina Loy, the fascinating Modernist whose work was forgotten for decades and now seems to be attracting increasing scholarly interest. This led me to a tape made in 1960 of Loy being interviewed about her work. The interviewer, Paul Blackburn has now entered that vale of forgottenness himself, but besides being a serious poet with a strong interest in the audio value of poetry, he was a promoter of other poets, so I naturally feel an affinity for him. The Loy interview tape has moments of interest, even though Loy seems distracted and at times uninterested in her own long-past work, and Blackburn, true to our Other Peoples’ Stories ethos, encourages her, but doesn’t fill the gaps by yapping-on himself about, well, himself—as I fear I would have done. Yet, for a minute or two, he does do that, and this ad lib description of hitchhiking trip from his own youth was so striking I had to form it into what it sounded like to me, a beautiful little poem. It’s one of my favorite pieces from last summer as well as for the listeners here.
8. Plum Tree Blossoms on 40th Street. The vast majority of the words used here for the audio pieces are not mine. That’s by intent. Both Dave Moore and I have written since our teens, but when I started the Parlando Project I thought that the special jump, the bridging of a gap, that occurs when you perform a piece and others listen may be intensified if the performer too is making the jump across the gap to the writer, just as they are asking the audience to do. This summer’s top 10 will violate that principle three times, probably more than it should.
A number of things I’ve written this year have focused on memory and time, and how they can be experienced in odd ways. How we can intensely experience a past event as if it’s still going on in its full dimensionality, or in “Plum Tree Blossoms on 40th Street,” how we may fill in sensory information and intensity in remembered events long after they have happened, even though at the time they were occurring they seemed mundane. The routine of biking to school is to my son is just another day to him now, but it can be transformed into something else much later. Artists believe they can access that special intensity and meaning instantly, without nostalgia and the confining frame of memory, and that may be a necessity for their work to be created—but in another sense, what’s the hurry?
Here is a short piece about an intense memory experience, where you believe you are fully re-experiencing something from earlier in your life. This is not déjà vu, and I don’t even know if there is any similar widely used term with plentiful accent marks over top the letters for this. And since this is a subjective experience, I can’t say for sure how common it is; but for me it happens fairly often. In these moments I’m not merely remembering something, I feel I’m re-living it, with access to the entire sensory experience—but the experience is felt by a mixture of the past me mixed with the present me.
This can be pleasant or not, but it always feels spooky to me. Subjectively (there’s that word again) it feels like the nature of time itself is being exposed, that the concept that time passes could be an illusion, that all time is happening now. Or that time may move in a boustrophedon manner wrapping back and forth next to itself.
Boustrophedon writing runs left to right, then wraps back right to left and so on “as the oxen turns” when plowing. Conceptually, what if time doesn’t run forward, but wraps back next to itself, or even over itself? Cue the hippy-trippy background music now. Also, be careful about stepping in the bovine exhaust.
I suspect some of you are going “Oh wow, that’s heavy.” Some “That’s some mystical B.S. there!” Others may wonder if chemical intoxicants are involved (short answer: nope). Some of you may even be puzzled about what I’m talking about, not having had the experience, or having had it and not stopping to fully encounter it.
Still, this is a subject that poetry allows, because, like all arts, poetry is about sharing the subjective human experience. Now-a-days this sometimes goes by the rubric “sharing one’s own truth.” I’m not fond of that phrase, though I believe compassionate people use it with good motives. Somewhere I’ve picked up the first principle of objective truth, even though that cannot be knowable out to all its edges, even if it must be handled with approximations.
So, I will make no Blakean claims of mystical revelation with “Summer For,” but you may still find this an interesting experience to share for three minutes, along with some skittering acoustic guitar accompaniment. The player to hear it is right below.
Today I step aside from our usual practice here, and present words I wrote. With opportunity, next week I should be able to return to “Other People’s Stories.”
“Plum Tree Blossoms on 40th Street” was written recently, and includes elements of observations I made during a bike ride to school with my son in early May. In the course of writing the poem and revising it, I modified the events of that day. This is not unusual. The events of one’s own life have a fractal branching of meaningfulness that frustrate encapsulation. It may be useful to use those endless edges as perforations to tear away from all things remembered the shape of a poem.
I tested the revision before this one with a group of poet friends, and alas, it didn’t seem to work well for them. They were slightly puzzled why the speaker in the poem didn’t ask the child to stop and smell the blossoms, but altogether bewildered by the question (or the way I presented it) when the speaker asks near the end of the poem about memory being able to remember the smell of something overlooked in one’s past. That was useful information. They also made a very specific suggestion. Originally the blossoms had been tree blossoms, and though they were extravagantly fragrant on the morning that inspired the poem, I did not know in fact what kind of tree was bearing them. No matter, they suggested, it works better if you make them a specific tree.
OK, it was some kind of fruit tree blossoming, let’s make it a plum.
I read something once particularly wise regarding such honest critiques about one’s writing. It may have been from Kurt Vonnegut, or it may have been someone else, but the gist of it was that if good, honest, readers find a problem in a piece they are almost always right, even if they are often wrong about how to fix it. The suggestion to name the type of tree was simply right I thought, but how to deal with what they saw as the troublesome puzzle about memory?
What I was trying to suggest in my poem’s story was that we can indeed remember things retroactively. Things that were not noted at the time consciously, that were not filled out as if a contemporaneous diary as experienced, can still be recalled when we later find them important or precious. We do this partially from our subconscious, perhaps even from what the Transcendentalists would call the over-soul, but mostly this is augmented because our minds are great pattern makers, able to fill in gaps with all the other things we recall.
The readers who noted this as a problem were smart, perceptive people. They likely knew of this, but I still had perplexed them.
I could not remove this, for me it was the point of the poem. Sometimes, what folks most object to in a poem (or other art) is, paradoxically, why it needs to exist.
I made some slight changes in a couple of lines around that concluding question, hoping in this version to make this natural phenomenon of memory clearer, without hindering the “music of thought” as well as “music of words” that I think poetry should have. Maybe it works better now.
To hear my performance of “Plum Tree Blossoms on 40th Street” use the player below.
It may be U. S. National Poetry Month, but one can’t deny the impact that English poets have had on poetry, particularly before the Modernists launched with significant American participation.
Modernism, as practiced by those early 20th Century Imagists sought to cleanse poetry of the rust and rot of “poetic language” and rote abstract metaphors. Strong, exact words, no more complex or numerous than necessary were to describe things that were actual things, not merely decorative analogies to describe something else. By the 1920s, that American import, T. S. Eliot, became the standard of one large stream of Modernism. Although inspired by this fresh use of language, the Eliot wing of Modernism sought to rid poetry of “romanticism,” defined as a relentlessly subjective expression of personal experience unshaped by a greater historical and cultural understanding. Poetic language might be refreshed, but the cult of the great poem returned, and said that poetry is best to be in service of great themes and elaborate—rather than elegant—structures of thought.
Early Imagist/Modernist poems were about moments. The High Modernism of Eliot allowed it to be about eras. Imagists prized images of things formerly ignored or costumed only in the rhetorical finery in 19th Century poetry. High Modernism still allowed the mundane to stand for sublime thoughts, but it often sought to display a level of knowledge and literary scholarship along with the everyday in its choice of images.
This is why it’s important to look at the early part of artistic movements. Often their best ideas become mutated as the movements develop. Their revolutions become the new orthodoxy.
Today’s piece, “I Wandered Lonely as a Cloud (Daffodils)” is by English poet William Wordsworth, one of the founders of Romanticism. It’s a poem that can be attached to an exact (April, Poetry Month) date: April 15th, 1802, and to a walk that Wordsworth and his sister took in rural England. But that’s not how the poem was written. Wordsworth wrote it a couple of years later. He referred to his sister’s detailed journal entry about the April walk to refresh his particulars. His wife supplied two critical lines for the final stanza. This was not a spontaneous outburst of subjective personal feeling at all.
I couldn’t make it to the Lake District, but even a month ago, daffodils were blooming during an English Spring in Kew Gardens
In a few weeks my lawn will look like this in Minnesota—only dandelions, not daffodils.
When I performed the version you’ll hear below, I made one significant change and one minor one. The minor change? I dropped the adjective golden from his line “A host, of golden daffodils.” I suspect I did this by accident as I performed it. Not to dis Wordsworth (and by the way, Billy, what’s with that obvious pen name “Words-worth” for your poetry gig?) but I think I improved the line when I sung it as “A host, a host of daffodils.” First off, daffodils are a common flower, and they are in the wild always yellow. Strict Imagists would say the golden adjective is therefore unnecessary—and it is, well, a gilding of the lily. I can’t recall my reason for the major change, dropping the next to last stanza—I may have desired to shorten the piece for performance—but it is the weakest stanza in the poem.
I do retain something else Wordsworth does here, something I don’t recall the Imagists doing much. “Daffodils” is presented in a framing device, while the Imagists were all about the presentation of immediacy. Wordsworth doesn’t say merely that looking at all these wildflowers, the temporary exultation of spring, was transfixing—and he says that less with that next-to-last stanza removed. This is not a poem only about letting us see them in their wild, external multitude through his eye on an April walk in nature.
No, the poem starts, deliberately, in past tense. “I wandered lonely as a cloud.” And the poem closes even more removed. The speaker of the poem is not the energetic nature-walker strolling in Spring. In the actual, unknown, later time of the poem, he’s lying on a daybed, vacant or pensive. These daffodils are now only obtainable by the “inward eye” of recollection.
Setting something in the past can be seen as a tactic of sentimentality, something the Modernists distained, but what we have here is worth that risk. How so?
I thought it a delightful little nature poem when I read it as a teenager. Then I read it decades later, as my Eagle Scout father, the angler long accustomed to waiting perpendicular on the flat surface of lakes, the man who had bicycled across his rural state many times—while then, as I re-read, he was further and further confined to lying flat in rooms with the erasing of days. In that later time, noting the wild daffodils bliss is told to us in memory, I reversed Wordsworth’s famous dictum on the origin of poetry. In my reading, in that time, it became a poem, a song, of tranquility recollected in emotion.
Here’s my performance of “Daffodils” as I sang and accompanied it on acoustic guitar.
Here’s a tribute to a couple of other American originals who are inspirational to this Project.
“Side-Walks” is the second piece here using words taken from a Laurie Anderson interview. In the earlier piece, Anderson was talking about how the sky of her Midwestern childhood taught her to realize that she was “nothing and everything.” Today’s words are quoted from a 2015 interview where she’s talking again about childhood, but particularly her childhood as she can revisit it in memory.
The phenomenon she talks about is extraordinarily common, while still extraordinary: the intense memory of childhood, rich enough that one feels they are experiencing it in fully dimensional, traversable, 3D space, with access to senses other than vision (such as smell and touch).
If you don’t feel you have this ability, Anderson suggests a method to engender it in her story. Although, I took this account of hers from a written interview, anyone familiar with Anderson’s speaking style from her work, may hear it in her performance voice, that slow, measured coo that never rises in intensity or volume, and varies only in a slight, auditory smile that can indicate any number of stances without determining one.
As I mentioned last time I used Laurie Anderson words, her performance voice is hypnotic, and influenced as I am, I can sort-of imitate it, but choose not to. But as I listened to this piece over and over as part of the mixing process, I began to realize that I was somewhat imitating the performance style of another influence of mine, Ken Nordine.
At some point, in another post, I’ll probably need to discuss Ken Nordine at some length, but hearing that echo, I said to myself “I bet no one has ever connected Laurie Anderson and Ken Nordine. Wait until I tell everyone about how these two unique American artists have these striking similarities!”
Nordine and Anderson. What if I’m not a spoken-word artist, but a listening-word artist?
Because I write, my mind immediately starts writing, all in my head, all the ways their work connects. Both are native Midwesterners, who can carry that mindset to any cosmopolitan location. Both use that very even speaking style in performance, with Nordine allowing just slightly broader bemusement to sneak into his affect for contrast to Anderson’s often present, but more muted, smile. Both use music in combination with their hypnotic words, but both will choose music that is not calm, conventional “music beds.” Both love the sideways movement from one topic to another that seems alternately random and deeply meaningful, and both enjoy the shaggy-dog story conclusion that doesn’t overdetermine which.
I pop Laurie Anderson and Ken Nordine into a search engine, and find…
Here’s a single dip into the 50 years or so of Ken Nordine’s audio pieces
Well then, let’s go back to Anderson’s story of how she can revisit a vivid childhood time, as many of us can. Her story is vivid too, even if she’s telling it off-the-cuff in an interview, not in performance, but what I found most striking were her conclusions. A couple of centuries ago, William Wordsworth wrote “Intimations of Immortality from Memories of Early Childhood,” the poem that ends with the line “Thoughts…too deep for tears.” Do we think that means, too sad for tears—and, if so, what does that mean? Or is it, as Wordsworth had it in his ode, the “meanest flower”—or as Ken Nordine and Laurie Anderson speak it, is it that smile, however broad, that is deeper?
The player for my performance of this brief story Laurie Anderson told is just below.
Today’s piece is our first proper piece by English poet Thomas Hardy. In America Hardy may be better known as a novelist, though he considered himself a poet first and last. When Hardy began writing poetry in the 19th Century, William Wordsworth was but a decade dead, and at the end of his career in 1928, T. S. Eliot’s “The Wasteland” was several years old. So, Hardy’s career starts at the tail-end of the English Romantic revolution, and proceeds through the Modernist Explosion of the early 20th Century.
In some particularities of locales and events, Hardy’s poetry can seem of the 19th Century; but his language, direct, colloquial, and unfusty, seems as modern as the 20th Century modernists. Indeed, modernists from Robert Frost to Phillip Larkin found much to admire in Hardy. Setting many of his poems in the rural areas of western England diffuses the placement of some Hardy poems on a timeline, as the more rapid pace of cosmopolitan change does not mark them as sharply.
“Strap yourself to a tree with roots”
Gravestones moved by Thomas Hardy when progress impinged on a country graveyard.
Today’s Thomas Hardy piece is “The Self-Unseeing,” published in 1901, right in the turning of those centuries that Hardy spans. This is another poem brought to my attention by the Interesting Literature blog, and I cannot improve on the excellent analysis of the poem there.
In “The Self-Unseeing” there’s a visit, in a mix of memory and reality, to a long-ago childhood house, a mental voyage many of us can do, assuming we can ride out the emotional waves. Given the fires, floods, earthquakes and winds of the past couple of months across our continent, some will be being taking this visit now wholly in memory.
Bury my heart in Stinsford.
So, that’s it for analysis of the poem this time, but we’ll offer some music to go along with it: strummed acoustic guitars and bass, and a vocal that’s a bit more to the “sing” side of our usual talk-singing. To hear it, use the player that should appear below. If you like the variety of what we’re doing here, combining various words with various music, please help us by sharing links to here, hitting the like button, or otherwise letting folks know. Thanks!
I’ve been on the serious side for the last few episodes, but this time it’s going to just be a late night, late winter jam called “Bar Tryst, Late Winter.” I wrote the words to this one—at least I think I did.
Do you know the story of how the song “Me and My Uncle” came to be? It’s a great cowboy song, recorded and sung by many people, including The Grateful Dead. Sometime in 1964 or so a songwriter named John Phillips who had toured to no great acclaim during the American Hootenanny pop-folk era in the early Sixties got a royalty check for writing this song. Seems Judy Collins has recorded it on a live album, and his first thought was to set the record straight. He got in touch with Judy Collins and told her that the writing credit must have been a mistake, that he didn’t know anything about any such song.
Collins then proceeded to tell the surprised Phillips that both of them had both been at an after-concert party in 1963 where a heady mix of intoxicants were present. During this night she had heard him compose this song on the spot. Luckily someone had run a tape recorder during the party, and from that tape she had learned the song.
Such a good song-finder, she could find songs the songwriter didn’t know about!
Well, Judy Collins was not involved in my story, but it’s more or less the same. Sometime early this century I was looking through some old notebooks from the 1970s where I had written some things, and there on a page in my handwriting was this piece. Not only had I had no recollection of writing it, I had no recollection of any night quite like it describes. It’s possible I imagined the scene, using elements of things I had experienced, It’s even possible that I didn’t write it, but why would I transcribe something of that length in the midst of other things I was writing?
Shortly after rediscovering it, I recorded this live take with the LYL Band and a drum machine. The guitarist I was playing with at that time was Andy Schultz who pulled out a lot of improvement in my playing as we wove lines between the two of us. Like the composition of the words used here, I can’t always tell when I listen to recordings from this time which of us played which guitar line back then.
To hear the LYL Band perform “Bar Tryst, Late Winter,” use the player gadget below.