Mystery Baseball

OK, you’ve come to the place were music and words meet, and where the blogger never tires of drawing subliminal connections.

While writing yesterday’s post about the start of the baseball season, I began to think of American poet Phillip Dacey. Dacey grew up in T. S. Eliot’s hometown of St. Louis, though a few decades later. St. Louis was a town where if you wanted to watch great exciting baseball played in a brash and winning way you could watch the St. Louis Cardinals. The Cards led their league 23 times and won 11 World Series titles over the years!

But, what if you didn’t care for any of that?

Well, you could watch the St. Louis Browns, a baseball team who never won the World Series, and whose play was so woeful in Dacey’s youth that their owner once sent a midget up to bat, not just to cheer up their meager fans, but in the sure hope that no pitcher could find the short crouching man’s epigram of a strike zone. Dacey once told me that getting into Browns games back then was easy for a kid, and I’ll add it was probably good for a future poet.

Eliot and Dacey

Looks like they’re going to call on a pinch hitter. Yes, here’s the announcer: “Now batting for Thomas Stearns Eliot, Phillip Dacey”

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That said, there’s no record if Eliot was a baseball fan before decamping to England, at least there are no real Eliot and baseball connections I can find from a quick search,* but due to that research I did read that Ernest Hemmingway, no fan of donnishness he, once slammed Eliot by saying “He never hit a ball out of the infield in his life.” But then watching baseball is not an athletic contest, anymore than watching bullfights and writing about it is. Literature isn’t about being able to get around on the fastball or launch angles off contact. Literature is about observing the material particulars of mysteries and being able to share that experience.

So, as evidence that watching a team lose in any way possible might be good for a poet, I’ll say that Dacey wrote a couple of good poems about baseball, and today’s piece is the one I remember the most. I heard him read it more than once, and since he was an excellent reader of his work one could open the question if it might have been his performance that sold the poem to me, so we’ll see today if it still works in my voice. If you’d like to read the text yourself, here’s a link to the poem.

In an interview later in his life, Dacey described how he came to write poetry:

In my mythologizing of that moment, I imagine the Angel of Poetry tapping me on the shoulder and saying, ‘Hey, Phil, you’re one seriously lost soul. Pick up a pen and write what I tell you. I’ve come here to save you.’  In short, I’m grateful to poetry for giving me the life I’ve had, and if I’ve worked hard at it over the years, it’s out of that gratitude, out of a wish to serve the art. Although my self-deprecating joke (but not entirely a joke) is that if I really cared about poetry, I’d quit writing it and just spend the rest of my life reading the poetry of the dead greats, who never have enough readers.”

Hmm. That last part sounds like a good idea, Phil. I wonder if…**

Ah, all these ideas, and now I’ve dropped the ball of trying to connect baseball and this Dacey poem with T. S. Eliot and “The Waste Land!”  OK, how’s this: when I return to Eliot’s landmark poem it’ll be in the section where Eliot’s narrator believes someone unknowable but sensed is near him in the Waste Land. Dare I say, not unlike the mysteries of the 10th baseball player somewhere on the field in Dacey’s poem?

Speaking of players: to hear my performance of Phil Dacey’s “Mystery Baseball”  some of you will be able to use a player gadget below. Is that player invisible to you? Well, as Eliot will have it, “There is always another one walking beside you” and that’s this highlighted hyperlink that can also play this performance.

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*Parodic verses and humor articles yes — but nothing documenting anything in Eliot’s actual biography. And I found a few baseball fans whose opening day shares the month of April with #NationalPoetryMonth breaking out the famous “April is the cruelest month…” opening to “The Waste Land.”  Not that I would be so desperate as to stretch for a connection like that! So, you will not find me expanding my reach to suggest that Madame Sosostris’ Cards are not but tarot, yet also Cardinals, and that “The Waste Land’s”  Gashouse gang by the smelly river is a prediction of the rough and ready Cardinals team that would rise in the ‘30s. Students reading this blog for homework help, don’t drop those last two into your papers on “The Waste Land.”

**If you’re a poet, you are going to read that hyperlinked Dacey interview aren’t you? Dacey was a great teacher, you’re missing your chance if you don’t. Near the end he writes about an idea for a “poetry jukebox.” May I suggest this project is one, and it doesn’t even require a coin to be dropped into the slot.

Eliot’s Oak

The river of history runs only in one direction.*  And so on our river journey, the Modernist poetic landmark “The Waste Land”  will arrive, and stopping and resting on the landing there will mark us as well past the headwaters, and our memories will diminish of the headwaters, even if the very water that carries our boats flows from there. T. S. Eliot wrote many letters and critical essays, he must have written somewhere about his American poetic forbearers — but if so, the spotty scholar writing this is so far unaware of what he said.

If one searches on that subject, one will see many mentions of Eliot’s Modernism supplanting the American 19th century New England worthies headed up by one Henry Wadsworth Longfellow. And then something else might turn up, like this deserves-to-be-better-known sonnet of Longfellow’s titled “Eliot’s Oak.”   Here’s a link to the text if you’d like to follow along.

If we largely forget Longfellow these days, we tend to forget Longfellow the writer of short lyric poems to an even greater extent. If this sonnet had been attributed to Keats or Shelley, it would be no less antique in some of its usage, but I suspect it would be better remembered and rated for achievement. Besides the “speakest,” “days remote,” “eventide,” and “hath” language, its chief crust of old-fashionedness is its use of the pathetic fallacy, where a tree is addressed and converses in the poem. We’d forgive Keats and Shelly for this, where we likely won’t forgive Longfellow. If we allow that bald-faced metaphor to pass, we might notice that the imagery in the poem develops in an admirably subtle way. In the sound of the tree’s leaves the poem hears a variety of sounds whose meaning is just out of reach, and masterfully Longfellow transitions to say that different people will hear different nearly intelligible languages in this sound. Am I stretching this conceit’s move too much to say that this 1876 poem has just sought to impress upon us a key tenet of cultural Modernism?

As Longfellow’s sonnet reaches its turn for a final six lines, we are forced, as much as we might be in parts of “The Waste Land,”  to seek out what is being referred to. With “The Waste Land,”  it wouldn’t be extraordinary to believe that some of the readers of this blog would have some knowledge of Richard Wagner, Jacobean drama, Metaphysical poets, or Ovid; and it’s even more likely today that some here would have some understanding of Hindu religious thought and writings, which will get called out in the upcoming concluding sections. But, do any of you know of the “Apostle of the Indians, Eliot…” Longfellow speaks of, what this story means, and how dark it is? I didn’t.

Eliot Oak before 1936

The Eliot Oak still stood in Longfellow’s time, and long enough for a trolley line to run past it.

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In the 17th century, the Puritans who founded the European colonization of Massachusetts included this stalwart preacher John Eliot who came to believe that he was called to preach to the indigenous Algonquin tribes there. The Puritans had a strong streak of religious zealotry, and given that and the commercial interests of colonization, many regarded the natives of their new colony has the devil’s savage minions. John Eliot believed them to be merely unconverted fellow humans.**  As Longfellow’s poem indicates in his Biblical allusion in lines 10-11, Eliot views the indigenous as fellow members of the Abrahamic family, potential “people of the book.” At first, all this was only a philosophical/theological debate. Eliot was allowed to learn their language, preach Christianity to them, and form somewhat autonomous villages of “praying Indians.” In an act of superhuman intellectual and literary effort he managed to translate the entire Christian Bible into their native language. Just this massive translation alone would be remarkable, but these tribes had no written language, so he had to devise a way to use the western alphabet to depict it. Nor was it an easy job to then print the resulting Bible: the press had to be imported, and the work of setting the type and printing was not trivial either. Eliot headed this project, but it should also be noted that the first nations people who worked with him were indispensable.

The resulting book, in a first edition of 1000, Mamusse Wunneetupanatamwe Up-Biblum God, wasn’t just the first time anyone had created a new written language to publish a Bible, it was the first  Bible to be printed in what would later become the United States.

Now of course the whole issue of evangelical Christianity and native cultures is a complex subject. Even those of you who do not know John Eliot’s particular story will include some who know some of the harmful incidents in such matters. Yes, this story gets dark, but there’s also a strange redeeming element in the end too.

In 1675 some of the Algonquins began a three-year uprising against the colonialists, leading to what was called King Phillips’ War. It makes no difference that Eliot’s converts are co-religionists of the colonialists or if they have any allegiance to the rebels. The very fact that many of them are now fluent in the native languages and English makes any of them prime suspects as spies and informants by both sides. Some of Eliot’s converts are killed, and the rest are shipped off to a concentration camp where many starve, despite Eliot’s efforts. Oh, and most copies of the Eliot bible are deliberately destroyed. Those theological debates have become warfare.

I promised there would be a ray of light in this. I’m not sure this had happened yet when Longfellow wrote his poem — and if so, he prophecies it in the poem’s last line — but in the ensuing colonial disaster inflicted on the native peoples, their language was wiped out. People still existed who were descendants of this Algonquin tribe, but they could not speak it’s Wampanoag language. Surviving copies of Eliot’s Bible become the Rosetta Stone that allows the language to be revived.

John Eliot Memorial Newton Mass

The same year Longfellow wrote his poem a memorial on a spot where Eliot preached to the Algonquin was built. I wondered through Google Streetview to find it still stands, though it looks ignored.

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In summary, as you listen to today’s audio piece, it may just seem like a facile little ditty about a talking tree and this, whatever Eliot,*** who isn’t even T. S. Eliot. Understand what its images and references point to, and it’s a memento of one of the least-known and most-impressive American literary achievements and a link to the complex tragedy of some who hoped to turn in some way from genocide. Perhaps it’s the romantic in me, but consider some of the lost or just unheard stories of the land we live on during this #NationalPoetryMonth, the lips that spoke them, the hearts that heard them. The river of history may run in one direction — but go ahead, make a fool of yourself, and listen to the trees. Or listen first or second to my performance of Longfellow’s “Eliot’s Oak.”  You can use the player gadget if you see it below, or this highlighted hyperlink will open a new tab or window to play it too.

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*Except in Chicago. See this.

**Here’s a short, two-page summary of John Eliot’s efforts in PDF format written for a local church that bears his name.

***So, is John Eliot related to T. S. Eliot? I don’t have a family tree or other such documentation, but it’s highly likely. Eliot’s family was known to descend from early Puritan colonists.

What the Thunder Said Part 2

Let’s continue with my serialized performance of T. S. Eliot’s “The Waste Land,”  moving onto the next portion of its concluding section “What the Thunder Said.”

The poem is called “The Waste Land,”  but except for that title’s general metaphoric weight and a few passing foreshadowing lines, it’s only here, more than 300 lines into the poem, that we finally enter the landscape promised in the title. It some kind of rocky desert, almost Martian, and the poem’s speaker is also like unto an astral traveler descended from a spaceship onto it. Later in the section we learn that there is at least one other traveling with the speaker, but this is yet unrevealed, and even then, there is nothing definite about this traveling companion.

Mars The Waste Land cover

“Damn Martian cicada infestation, and this dry grass sure could use some rain.” Alt-timeline Eliot in another genre.

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Who are the two people? No name is given to the speaker of this section, and it’s easy to think it’s the poet himself, though some have figured the speaker to be Tiresias, the male/female time-lost wanderer featured elsewhere in the poem — though if Tiresias is something of a Virgil in this Divine Comedy,  perhaps they could just as well be the companion to the poet here. Another theory has the second to be either Jean Verdenal, the friend and putative lover of Eliot who had been killed at Gallipoli in WWI, or Eliot’s wife Vivienne Haigh-Wood. It’s also possible to read the unnamed companion as us, the reader, accompanying the now unmasked Eliot to the poem’s conclusion.

These are all theories of scholars, whose greater knowledge and reading I respect. I personally have always read the “two” as the divided self, and I perform the poem from this understanding.

There are glimpses of others in this landscape, “red sullen faces sneer and snarl from doors of mudcracked houses” but are they visions, hallucinations, or inhuman if living? I read them as these — perhaps out of preference — as Eliot seems to have shared a substantial portion of the crude racial/ethnic stereotypes of his culture.

Today’s section was, at least at one time, Eliot’s personal favorite part of the poem. In 1923 he wrote to Ford Madox Ford saying there were “about thirty good lines in The Waste Land”  and he wondered if Ford could decern them. Ford didn’t try, so Eliot revealed that he was talking about “The 29 lines of the water-dripping song in the last part.”

If I was put in FmF’s place, I wouldn’t have picked these lines out from the over 400 of the poem. There is a musical logic to this section — that’s there throughout much of “The Waste Land”  — but here, instead of the vivid yet mysterious characters we have met in the run up to this section, we have — for a moment — what seems like a short interval of self-pity.

Today’s musical performance of this part of “The Waste Land”  tries to track Eliot’s landscape and outlook. A player gadget will appear at the bottom of this post for many of you to play it, but if you don’t see that, this highlighted hyperlink will open a window or new tab to play it too.

What will we find as we press further into The Waste Land  during the final installments of our serialized musical performance of the entirety of Eliot’s landmark poem for National Poetry Month? Check back here or follow the Parlando Project to find out.

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What the Thunder Said Part 1

It’s April, time to celebrate U. S. National Poetry Month! We’ve had a tradition here over the past five Aprils of performing “The Waste Land”  in serial-installment fashion, and now this year we’ve come to the landmark Modernist poem’s final section: “What the Thunder Said.”

Since the Parlando Project officially launched in August 2016 it’s been a tremendous effort to lead this exploration of a variety of poetry and ways it can be performed with original music. Last year we crossed the 500th piece threshold — an incredible achievement in creative productivity that I’m often proud of. One could spend hours here just exploring the poets we’ve featured and the ways we’ve performed their work. Though I expect most listeners will enjoy only a portion of what the Parlando Project does, I’d say this month is a good opportunity to wander randomly through our archives or use the search function to see what we’ve explored.

The Waste Land paperback cover

Putting a little worn patina on The New, The Modern…

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I am a little sad and a fair bit intimidated in reaching this section of “The Waste Land,”  the ending. It has become harder for some uninteresting reasons to keep up this project’s pace, but as I come to this April, I know I’m going to miss my annual return to the sprawling collage that is Eliot’s great poem. Though I’m hugely grateful for the ability to come this far, sadness is all around me, friends and relatives in suffering situations that I’m unable to address or help, and a sad tribunal is taking place a few blocks from where I sit and write.

I’ve always found this section of the poem a confrontation with sadness, and as it largely removes the masks and personas that have peopled the rest of the poem, I think it’s the most difficult to perform, both for audience-effectiveness and because the performer should/must confront that element inside themselves.

I’ve always found this section of the poem a confrontation with sadness, and as it largely removes the masks and personas that have peopled the rest of the poem, I think it’s the most difficult to perform…

As dysfunctional and damaged as they may have been, today’s section of “The Waste Land”  transitions us from the unreal city, its duplicitous characters, and the sweaty faces and the hubbub of “He do the police in different voices” sections, and begins to move us to the titular waste land that will be the stage on which that final confrontation with sadness will occur. Musically, I open this with an urgency as the battle is about to begin. And so, to hear my performance of the first part of “What the Thunder Said”  from “The Waste Land”  you may be able to use a player gadget below. If you don’t see the gadget, this highlighted hyperlink will alternatively play it.

2021 NPM Poster_1080

Thank you for reading and listening. Over the rest of April, I plan on pressing on to the end of the poem, and to present as much other work here regarding the sister arts of poetry and music as I can. Click follow or come back, check out the other things here, and spread the word about this Project. Those of you who’ve done that are what keep this going.

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Death by Water

Long-time readers here will know that the Parlando Project has been performing a section of T. S. Eliot’s “The Waste Land”  each year to celebrate National Poetry Month.*   It’s been a major task, and if one were to listen to all those past sections, you’d get a fair sample of the variety of original music we create for these performances. Similarly, the amount of work that goes into all of the Parlando Project has been huge (we’re rapidly approaching our 450th piece), but this year’s section of “The Waste Land”  is small—the smallest section of Eliot’s Modernist landmark.

I recall when I first encountered “The Waste Land”  as a teenager how puzzling the whole thing was. Right from the start it was confusing, with allusions and foreign language phrases that I had no way of decoding. It was said to be important, and it certainly seemed to be quite the accumulation of something,  but its hard to grasp nature didn’t make it easy to like. I could understand only a little about what Keats was saying in a poem like “Ode on a Grecian Urn”  back then too, but the essence of that poem’s longing and attractive mystery was there from my first reading. Eliot’s poem? It just seemed complex, even in an off-putting way.

But when my past-times teenager got to his year’s section, “Death by Water,”  I found poetry I could take in immediately had slipped into the much larger corpus of this poem. “Death by Water”  is a small elegy, and what allusions it had (like Keats’) were alluring. “Phoenician,” even at that age, had the right kind of mystery, what with the seafaring and alphabet. That feint echo of Shakespeare’s “Full fathom five” sea-change coral-bones. The straightforward sense of mourning.

For all its shortness, I doubt I was alone in finding it one of the most impactful parts of “The Waste Land.”  If you’d like to read this short, 10-line section by itself here’s a link to it.

Teenaged T S Eliot
The teenaged T. S. Eliot before he adopted the Harry Potter eyewear.

 

In 1952, decades after “The Waste Land” was written, this section took an important part in a literary controversy. A Canadian critic, John Peter, published an article that year claiming that the key to understanding “The Waste Land”  was that it was almost entirely a disguised elegy to a French medical student who Eliot knew in Paris before the war: Jean Verdenal. The strong inference in this theory was that Verdenal and Eliot were gay lovers. In 1952 this was not only sensational to the degree it might still be today, it was outright dangerous. To be homosexual was more than a notional criminal offence—and furthermore by this point T. S. Eliot was the living model of a religiously conservative Modernist and a Tory in his politics.

Eliot was furious at this article. Lean solicitors were called in. Retractions were demanded. In the end, Peters not only apologized, the magazine that had published the article tried to round up all extant copies and destroy them.

A couple of decades later, after Eliot had died, this reading was raised again, and this concept of the poem is still being explored in our century.

On one hand, Eliot made no secret that he admired the young Verdenal. They shared a love for the poetry of LaForgue and Mallarmé and acknowledged times together as college students in Paris. Eliot opened his first published poetry collection Prufrock and Other Observations  with a fond dedication to Verdenal.

“Death by Water”  was a key exhibit in this reading of “The Waste Land.”   In late April of 1915, Verdenal was serving as a medical officer in the doomed WWI Gallipoli** campaign with the French army fighting along with British and ANZAC forces. Accounts written afterward said Verdenal was heroic in trying to deal with the mass carnage on the Allied side as they tried to gain a beachhead at the edges of the Middle East. He was killed, and there was little ability to bury the dead on the beaches as the invasion failed. They were left to the tides or thrown in the water. A cruel month indeed.

Flea Bass

Now to press levity next to death: I used to mispronounce Phlebas as if it had three syllables. Apparently it’s pronounced with two, phoenicianally/phonetically, close to “Flea Bass”—though I think with a short, not long A sound. The next time you see RHCP, you’ll enter the whirlpool and think of T. S. Eliot.

 

Knowing this, it’s easy to see Phlebas as Verdenal. But I knew nothing of this when I first read “Death by Water.”  And you don’t have to know it either to have the words work for you in some way. Eliot had a theory for that, a well-respected theory back in mid-century: “Objective Correlative.” Eliot, by his own theory then, would hold that it makes no difference what the relationship was for him to this other young man in pre-WWI Paris. Subconscious? Sublimation? Closeted? Self-protection? Platonic, or Dionysius denied? No matter. You consider Phlebas or you don’t. Their bones are picked in whispers now anyway.

So, here’s my new addition to the Parlando Project’s ongoing serial performance of “The Waste Land”  available with the player gadget below. Perhaps another one where a legitimate singer might better serve my composition, but I like the current of the acoustic guitar music enough to submerge you in it.

 

 

*You know: “April is the cruelest month….” That one. No one has said as much, but between the opening line to “The Waste Land,”  the prologue to Chaucer’s “The Canterbury Tales,” and Shakespeare’s birthday, April seems like a logical choice for National Poetry Month.

**Another casualty of that campaign, a young British poet-soldier who died of an illness on a ship headed to those beaches: Rupert Brooke. One of the most popular pieces ever presented here is my recasting of a piece Brooke wrote on that troop ship heading to Gallipoli.

Teasdale’s Morning

It’s easy to figure T. S. Eliot as an English poet—after all, while his “Waste Land”  spans history and cultures, its landscape is distinctly English and European—but he grew up in St. Louis Missouri, a middle-of-America river town.

I promised you a different poem by a St. Louis poet last time, and so now we return to the compressed lyricism of Sara Teasdale. Just four years older, and with a family that would have crossed paths with Eliot’s in similar social circles, there’s no indication that I’ve seen that these two ever met in childhood.

And oh how different in some ways this poem of Teasdale’s is. “The Waste Land”  is hundreds of lines long. Even it’s third section, which I presented in whole form a couple of days ago, takes over 20 minutes to do it justice. Teasdale concentrated on the concentrated, and her poem “Morning”  first published in 1915, is just 8 lines long, and I assay it in less than 2 minutes.

“The Waste Land”  is a cathedral of High Modernism, and a poem like “Morning”  is what? A little song? A diverting lyric? A small bit of uncomplicated thought or feeling? A mouse in the wainscoting of the sanctuary? A facet light dropped from a stained glass window? In the end we are left with the question of how big is big and how small is small.

One of these songwriter poets is not from St Louis

One of these cats is not from St. Louis.

 

But here’s one thing the two poets shared. Both of them suffered from some form of depression. Eliot’s poems are generally seen as a search for meaning. Teasdale’s poems are seen as about a search for love. The former seems grander, the later more feminine. But how different are the essences of these two consolations really?

I am an old man. I haven’t answered these questions. You, reader, may well be younger, perhaps you’ll get further in this?

Morning

I went out on an April morning
All alone, for my heart was high.
I was a child of the shining meadow,
I was a sister of the sky.

There in the windy flood of morning
Longing lifted its weight from me,
Lost as a sob in the midst of cheering,
Swept as a sea-bird out to sea.

 

Before I leave you with my performance of Teasdale’s “Morning,”  let me just talk a bit about how I experienced it. Like “The Waste Land”  it starts in the spring of April, our U. S. National Poetry Month. The second line may trip off the tongue in song, but it’s a strange one: “All alone, for my heart was high.” One could write an essay on that line I think. My first reading was that the poem’s singer is experiencing heightened feelings which bring forth her sense of aloneness. But it also seems to be an image of feeling a oneness with nature, as outlined in the following lines of the stanza, away from humanness. Uncannily, the conclusion of the stanza seems like the John Lennon anguished lines in his song “Yer Blues:”  “My mother was of the sky/My father was of the earth/But I am of the universe/And you know what it’s worth.”

The second stanza tells us in its second line that longing, this aloneness, has been lifted by the flooding experience of this natural morning. The resolution of the final two lines is deeply ambiguous as I read them. The line “Lost as a sob in the midst of cheering”—anyone who has suffered depression, or even a moment of intense sadness, recognizes this image, and I don’t think we can read this as a simple consolation of nature’s largeness. I feel the final line, lovely and sound-rich though it is, is also ambiguous. The sea may be home to a sea bird, but is it home for the poem’s singer?

So only 8 lines, laid sideways, infinity.

You can hear my performance of Teasdale’s “Morning”  with the player gadget that should be below. If you’re reading this post on an iPhone or iPad with the WordPress reader you’ll be wondering what I’m talking about, but if you use the box-with-arrow share/action gadget in the iOS WordPress Reader app you’ll see a choice to Open in Safari, and the player gadget and your ability to hear the audio performances will be visible in the full browser.

 

 

Thanks for reading and listening. This project doesn’t ask for funds, but if you’d like to help it consider helping spread the word about it, particularly on social media during this National Poetry Month.

The Entire “The Fire Sermon” from T. S. Eliot’s “The Waste Land”

Part of the ongoing adventure of doing this project over the years has been the performance of a section of the English Modernist poetic landmark “The Waste Land”  each April as part of our celebration of National Poetry Month. So far I’ve done three large sections, one each year.

My first preference in this has been to separate these larger “Waste Land”  sections into smaller pieces, lasting 2 to 6 minutes to match the usual length of other audio pieces here, but then each year as a “previously, on ‘The Waste Land”  recap I also present a combined audio file of the whole section that I’d done the previous April.

That means it’s time to present the third and longest section of Eliot’s poem, “The Fire Sermon.”  That’s a sizeable chunk of stuff just from the weighty nature of Eliot’s long poetic threnody on the disillusionment of post-WWI western civilization, his own experience of depression, and search for spiritual and cultural consolation—but I also wanted to fully combine my experience of it with the entire range of musical expression that I’ve used here over the years, which means that I haven’t tried to hurry things along in order to stuff “The Waste Land”  squirming and squealing into a smaller sack.

So, today’s rollup of the whole Fire Sermon section is about the length and experience of an entire vinyl LP record’s side, just a bit less than 21 minutes long. What kind of LP would it be then? Perhaps it’s the second side of a “Progressive Rock” album where the band is going to stretch out in a linked suite. At one time that seemed a fresh thing for the popular music consumer from The Sixties, who had been primed by a few years of short 3-minute singles that were masterpieces of varied kinds of expression. Could one group weave that variety themselves? Could these shorter pop music forms become movements like longer orchestral music made use of?

Lets listen to some LPs

Long ago people playing long playing records. The merman in the lower left mixes expansive rock with Blonde on Blonde and Lenny Bruce’s caustic spoken word take on sex and the culture, which may not be to far off today’s slab of vinyl.

 

Of course these cycles were, are, cyclical. Less than a decade later the short sharp stab of 3 minutes of squall in a singular mode was back in hip style again. And now? Perhaps we’re progressive suite makers clicking in Spotify or Apple Music, or consumers of Peel-ing playlists in our each streaming perfumed garden of earbuds.

In these we lose this once particular 20-minute-magic. For today’s piece “The Entire Fire Sermon”  was created in one period of time, and not just by one group of musicians, but by one person. I wrote the music, played all the instruments, and recorded it myself to create this. I don’t say this to brag*—it was more a matter of practicality—but to call your attention to an essential part of this, as it’s an essential part of “The Waste Land.”  All the voices, all the modes of expression in that poem are played by T. S. Eliot. The men. The women. Tiresias, the at-least-sometimes narrator who is both genders. Yes, there are elements of memoir as poetry in this; yes, there are places where Eliot’s representing himself, his particular culture, the early 20th century man who went from growing up white upper middle class in St Louis to Harvard to France to London before he was 30. If Tiresias is a prophet, he is also blind and cursed by error. Eliot has all these things in him too, just as you or I do.

“The Waste Land”  is a harrowing work. If Keats hopes art, as his urn, is a “friend to man,” this friend Eliot made is telling you about the parts of life where hope has to struggle to come out. This section, like other parts of “The Waste Land”  has a reputation for misogyny. In my current reading of it, I’m relieved to not have to figure out a way around that, because I don’t share that reading, even if it may be part of the artist. What it is, particularly here and in the previous section, is the complete opposite of sex-positive. There is absolutely no joy or consolation in desire. Sex acts are referenced, but there’s no love made or even pleasure, only bad deals on unequal terms.

Since I’m asking to take up 20 minutes of your time to listen to “The Entire Fire Sermon”  I’m not going to say more about “The Waste Land”  today. If you’ve come here for homework help or because you have a nagging question about “what’s that thing on about” these sites will help with notes on the many, many references in this poem that is in effect sampling and collaging dozens of myths and other works: here, here, here, and here. And last spring, in March and April, I wrote about the individual sections as I presented them anyway.

Another way to experience it is to just let it wash over you as the dirty water of an urban river. Relax between your speakers, put your headphones/ear buds on and let it flow until the side ends. You drop the needle by clicking on the player gadget below. I’ll be back soon with some shorter work by another poet from St. Louis.

 

 

*Listening back to it as I made this combined file today, I am reasonably proud of what I did with the music, though I the composer wish I the performer was a more skilled singer.

The Parlando Spring 2019 Top Ten Part 1

It’s time for the seasonal tallying of the pieces presented here that received the most listens and likes from you during the past three months.

We presented 36 or 37 pieces in that time, including our increased posting activity during April’s National Poetry Month, but the most notable event for me during this interval was May, which became the most active month ever here for both blog visits and audio piece streams. I’m grateful that you’ve lent this effort some of your attention, and that goes double for any of you that helped spread the word about what we do here informally or through things like Facebook and Twitter.

As usual we’re going to follow the count-down format, moving from the 10th most popular piece as determined by your listens and likes and moving up to the most popular one.

10. Sweet Thames. It was a close finish with Charlotte Mew’s “The Trees are Down,”   but one part of our ongoing annual April serial performance of “The Waste Land”  made it into the Top Ten. “Sweet Thames,”  the portion that kicks off that poem’s longest section “The Fire Sermon”  was the part that made it, while the rest did not. Perhaps the listens/likes were lower because I warned our audience that “The Waste Land,”  and particularly “The Fire Sermon”  part of it, is not light entertainment, and things only got darker as “The Fire Sermon”  continues after this. “Sweet Thames”  may seem to have jaunty parts, particularly the catchy Mrs. Porter section near the end, but even that has dark undertones as it was sung by the ANZAC troops heading for the disastrous Gallipoli campaign in WWI.

I did like the music I composed and played for it though, mixing some buzzy synth lines with American delta-blues style slide guitar. Listen to it here:

 

You could think of Dr. Tearle’s 3 minutes of video here as the trailer if “The Waste Land” was a film. Definitely not a date movie then.

 

 

9. Smoke and Steel. Frequent visitors here know my love for Carl Sandburg, and the Sandburg piece that made our Spring Top 10 was a selection I took from the longer poem that is the title piece from his 1920 collection Smoke and Steel.

I found Sandburg’s extended metaphor of our working lives as smoke incredibly moving, something that a few of you must have agreed with. Musically, the toughest part was the piano part, the song’s musical hook. It’s not a complicated part, but I had to record it in two passes on my tiny plastic keyboard due to my naïve piano skills. Here’s the gadget to hear it.

Carl Sandburg on the work site

Sandburg greets Richard Wilbur, Amiri Baraka, and Frank O’Hara at the start of a 20th century poetry symposium. “All poets must wear a hard hat and steel-toed boots before entering the typewriter area.”

 

8. The Aim Was Song. Robert Frost’s ode to the genesis of poetry gave me an excuse to break out with an unapologetic electric lead-guitar song. The poem’s text talks about wind being shaped by the mouth, which may have clued me into using one of the oldest electric guitar effects devices: the wah-wah. The wah-wah is a foot-treadle pedal which when moved sweeps a frequency-band emphasis. The sweep of frequency seems to be changing the note as it sounds, like a jaw-harp or a horn plunger-mute. The player gadget for “The Aim Was Song”  is below.

Wah Wah Frost

Wah-Wah Robert Frost

 

Next time we’ll continue the count-down with numbers 7 through 5.

Wrapping Up National Poetry Month 2019

It’s been quite the April here as we ramped up activity to celebrate U. S. National Poetry Month. A lot of effort and time on my part, but since this project is based on the joy one finds in looking and listening to something and seeing what the encounter brings out, it’s been fun for me. I hope some of that always self-replenishing curiosity comes across to you as you read and listen here.

Here’s some of what happened this month.

Most blog posts here ever, nearly a daily schedule! There are blogs, ones that try to do different things than this one, that can carry on at that level for an extended period, but it took quite a lot of effort considering this project’s goals.

I completed a #npm2019 goal of performing all of T. S. Eliot’s longest section of “The Waste Land,” “The Fire Sermon,”  this month. I warned readers here that “The Waste Land”  isn’t poetry comfort food, but as I dived in, looking for things I could connect with in order to perform it, I found some unexpected things.

Before I started this serial performance, I thought I might struggle with misogynist/other portrayals of the women in Eliot’s masterpiece, but instead I found more empathetic depth there. Yes, it’s a bleak world for all in “The Waste Land,”  but I also got to experience a surprising amount of gender-blurring in the voices of “The Fire Sermon.”

In researching it this year I finally grasped the level of extensive sampling tactics used, where nearly every line references some prior artistic creation. I love an in-joke, the pendant in me rejoices in odd connections, but even as I came to better understand the sources I’ve left much of that out of my writing about it, because I believe the poem still communicates its experience out of the sound of juxtapositions and the variety of voices without one needing to know who first wrote the words or sang the songs Eliot drops into his poem. Considering hearing it this way: “The Waste Land” is a collage—you don’t have to know where the picture was clipped from to sense that you’re being asked to see unlike things next to each other.

t s eliot micophone

With a T and a S and L-I-@ / Here to rock this mic with my alley rats / Think you’re a sick rhymer with a mad dose / I’ve been to a Swiss asylum and been diagnosed / Dis a soft Thames flow while I sing my song / you might end up drowned like that Phoenician / Peace (that passeth all understanding) Out!

 

 

And lastly, I’m grateful for the broad music-ness of the poem that let me use what I think was a nice variety of musical styles along with Eliot’s words. Eliot wrote “You are the music while the music lasts”  and Stevie Wonder wrote “Music is what gives us memories, and the longer a song has existed in our lives, the more memories we have of it.” Eliot’s immediate experience of music is all over the poem. My task was to take those memories of another poet’s mind and to make them sound again.

Besides presenting a couple of poems by Emily Dickinson, I also enjoyed my “Roots of Emily Dickinson” series this April. Comparing Emily’s Bronte and Dickinson on hope was a great “aha!” moment for me. And Helen Hunt Jackson, who got skewered with a single funny scene in the recent Wild Nights with Emily  film, was a fascinating background character to run across, and Jackson’s “Poppies on the Wheat”  has been one of the most popular pieces here so far this spring.

Wild Nights with a chaperone 600

Would Emily Dickinson’s and family’s wild nights have been tamer if Gloria Bell was their chaperone? Discuss.

 

My own personal questions on what Emily Dickinson’s thoughts were about Afro-Americans and slavery, or even the bloody civil war that coincided with her most productive years as a poet, are still largely unanswered, but if I hadn’t gone looking for them I wouldn’t have run into the remarkable story of her Amherst contemporary Angeline Palmer and the bravery of three servants.

The blog audience has grown in response to this additional content, with April’s unique page views far exceeding any previous month. Listenership to the audio pieces were up too, and this April will likely set a record for the most listened to as well, though by a narrower margin than blog views.

As a practical matter, the amount of time and effort I put into things this National Poetry Month in April can’t be sustained. Unlike most blogs this is a two-pronged effort, with the production of the audio pieces coming first and then the blog post follows. I write almost all of the music for the audio pieces and I play and record the majority of the instrumental parts. But after that’s done, I’ve only started because then it’s time to write something interesting or illuminating about my encounter with the texts. Your readership tells me I’m succeeding sometimes.

This May I’m going to start some work on re-doing my main music production space. This is going to involve a lot of work, much of which I’ll need to do myself. My goal is to make it an even more streamlined, organized and functioning space. This will predictably reduce the amount of new audio pieces here for an interval, but afterward I hope it’ll make it possible to return to our normal 8-10 or so new pieces a month schedule.

However, because we’ve been at this a long time, there’s a lot of material in the archives, over 330 pieces, so there’s things here you may not have encountered yet. I try to mix the well-known with the nearly unknown. You can take a flyer on someone you’ve never heard, use the search function on the blog, or just try a random dive into the archives going back to 2016. Thanks for reading. Thanks for listening. Thanks for the likes, the follows, and particularly thanks for the shares and the links!

To Carthage then I Came

Here’s my performance of the concluding segment of “The Fire Sermon”  portion of “The Waste Land”  which I presented for this year’s National Poetry Month celebration. If you want to hear the earlier sections, they’re all here along with over 300 other audio pieces presenting a variety of poetry combined with original music.

The middle of the “The Fire Sermon”  is one of the few times in “The Waste Land”  when who’s speaking identifies themselves, and where they are allowed to speak more than a single line or so, but as “The Fire Sermon”  concludes here, it’s once again altogether confusing who’s talking. Eliot identifies who’s speaking in his footnotes for the poem as the three Rhinemaidens/river nymphs, who had been singing non-words in the previous section—but without the footnotes* I’d have never guessed that.

Miss_Rheingold_1949

The Rhinemaidens are from Wagner’s Das Rheingold. However, when I hear Rheingold, I think of the New York beer.

 

Even more so than the Typist/Man Carbuncular coupling or the subtle come on from Mr. Eumenides earlier in “The Fire Sermon,”  this is the dirty-book section of the poem. A speaker tells of having sex, flat on their back in a canoe** and furthermore (this may be another speaker/river nymph) tells of another sex act with their “heart under [their] feet.”***

This ends in tears and a question that many who’ve suffered from depression cannot answer from within their hall of dark mirrors: “What should I resent?”

If Eliot’s footnotes are saying it’s just the river nymphs talking, it soon gets specifically personal. The next stanza (“Margate Sands”) refers to the off-season resort where Eliot was taking one of those “rest cures” for his own depression. It wasn’t enough, he next went to a psychiatric hospital “By the waters of [lake] Leman.”

The final stanza (“To Carthage then I came”) is made up of quotes from St. Augustine, who as a teenager traveled to the famous African city to battle his own demons of human sexuality and spirituality, mixed with a refrain from the Buddha’s “Fire Sermon”  which says that all things are burning, consuming any constancy in desire and wanting. Joking doesn’t change what it’s about and what’s at stake: the wheel of suffering. But joking, if observed correctly, is also a demonstration of earthly things passing from significance.

John Fahey

John Fahey. Il miglior fabbro.

 

I performed this seriously as a solo acoustic guitar piece in Sebastopol tuning, using what I once absorbed from the playing of John Fahey, another man who had both demons and angels to laugh at. To hear it, use the player below. If you’d like to read along as I perform it, the whole poem, including this year’s part “The Fire Sermon”  is here.

 

 

 

*At last, I get to write a footnote on the footnotes! Oh, pendant’s delight! Eliot wrote extensive footnotes for the poem that appeared when an American publisher agreed to print a book containing the poem. These footnotes have always been controversial. Ezra Pound said they were only included to pad out the size of the book. Eliot himself said he originally wrote them to properly cite all the literature that he’d sampled in this extensively collaged work of text, and he sometimes expressed regrets at allowing the notes to be published with the poem, making “The Waste Land”  seem some scholarly treatise instead of an anguished cry.

**As the joke goes. “Q: Why is drinking American beer like having sex in a canoe? A: Because it’s f…ing close to water.” Note “The Waste Land”  was written by a serious poet, who was seriously depressed by the world and his life, and in this section he’s using sexual exploitation as image for that. How serious was he? Eliot took lay religious vows which included a vow of chastity just six years after this poem was published. This footnote is included for scholarly purposes only and you shouldn’t laugh at it.

***Class, if we turn to our Kama Sutras that’s page 112, where the person on the bottom is on their stomach and their legs are bent upward so that their feet are over their thorax. Also, there’s the connotation that one’s heart is being stomped on. More pedantic or podiatric joy: a foot note that’s a note on feet.