Continuing the countdown of the audio pieces with the most listens and likes over the past summer, we’ve reached numbers 7, 6, and 5.
7. O My Darling Troubles Heaven by Kenneth Patchen. I do wish I had more pieces with Dave Moore in them this summer. My summer schedule, my studio re-org, and various unscheduled things have conspired against us, and Rudy Giuliani has either not had anything to do with this—or has of course been involved. *
Still, it’s nice to see this piece getting a good number of listens. Patchen helped found the mid-century school of poetry read to Jazz backing, something now considered quaint, but at the time it was being done it was considered impossibly pretentious or inconsequential or narcissistically individualist by many.
Well, either judgement means you shouldn’t be listening to this, but some of you are anyway.
Another good reason to be glad for Dave presenting this is that it’s a further corrective to the Modernist Gloomy Gus tendency. Patchen’s critique of mid-20th century culture was plenty down-beat, and his personal life had enough depressing challenges to reinforce that. But! But! But! His statements of love, the necessity of resistance, and of the joy of art superseding some dreary cultural cod-liver oil pitches for it were about overcoming that—or at least fighting it to a draw.
Musically, this is an older recording where the LYL Band plays in its almost-Jazz mode, which fits Dave’s vocal where he told us last June that he was intentionally trying to recall Patchen’s own phrasing from when Patchen read his work in the post WWII era.
“If you see no hope at all, isn’t it sort of, well, a lie—all your talk about how human beings must love one another?” Painting by Kenneth Patchen
6. Grace Before Song by Ezra Pound. I presented three series this past summer where multiple posts presented different aspects of something. This charming poem was from the series I called “Before They Were Modernists” where I looked at work Modernists wrote before they found their place in the 20th century revolution in art.
Pound of course was the indispensable fomenter, editor, and promotor of literary Modernism in English, known for both his generosity and dismissive opinions.** But this early poem of his is a prayer written in metrical and rhymed verse, and it’s soaked with poetic diction and antique words. Still sounds fine when sung, and if sincere, the poem’s sentiment is admirable however expressed.
If you haven’t listened to it, go ahead and see if you agree.
5. Memory of June by Claude McKay. Speaking of graceful rhymed and metrical lyrics, this one by Claude McKay is full-throated and sounds great. In my post on it in June I wondered if the tantalizing line “for one night only we were wed” might have been an encoded cry of a gay black man who knew full well that marriage was out of the question. In each of these countdown posts, I start the listing with a hyperlink to the original post if you would like to read more about what I said about my encounter with the text at the time.
That’s still an interesting question, but no answer to it is required to appreciate the poem. As with so many compositions this summer I was meshing acoustic guitar with bowed strings and some of my sparse naïve piano.
*I probably should refrain from introducing the impossible to determine quantum state of an American political figure to this cultural discussion, as many of the readers here won’t even know who I’m talking about.
**and eventually, his active participation in Italian Fascism. If one decodes their way through all the masks, certain ugly prejudices and nutball ideals are present in the man’s art—and also beautiful distillations and perceptions that I can sit behind his eyes and share with him. This sort of thing is why I’m sometimes glad that I’m constrained to present here the work of the long dead. If Pound was alive, you and I might well feel it our duty to oppose him in total. As best as I can tell, Pound seems of little use to current English-language Fascists.
In the arts, Pound’s early 20th century Modernist opinions made him the Marie Kondo of poetry. “If it doesn’t spark joy, throw it out” was not one of the famous Imagist rules, but it could have been.