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Well, what do you know? Chimpanzees can recognize faces, just like humans.
Concerns herein: poetry and monkeys
"[T]here is little doubt, given the intense global interest in President-elect Barack Obama, that Ms. Alexander’s verse will be broadcast to more people at one time than any poem ever composed. This may not be American poetry’s Academy Award moment. But it is, for Ms. Alexander, an outsize platform" (New York Times, Dec. 24, 2008).
"Burma is famous for the smooth comfort of its affordable native shaving creams, and Burmese poets have long celebrated them in verse. Here is a typical example by an anonymous author:
A shave
that's real
no cuts to heal
a soothing
velvet after-feel
Burma Shave
(p. 102)
"How do I know so much about Merpeople, you ask? Field research. The same way that great ethnographer, Samuel Taylor Coleridge, found the ancient Asian city of Xanadu, I was able to 'chase the dragon' all the way to the bottom of the ocean. Of course, opium is not yet widely accepted as a historiographic method, but it provides an unbeatable firsthand experience."
(p. 109)
"In his defense, Mr. Blagojevich said only that he had the truth on his side. Legal experts said his lack of specificity was not surprising, given the criminal case ahead of him. But his appearance was perhaps more revealing with regard to his emotional state. He described himself as lonely, thanked supporters for their comfort and prayers, and quoted from memory the poem “If” by Rudyard Kipling, about the nobility of persevering through tough times."There's no telling how being tied in any way to Blagojevich will impact Kipling's literary reputation.
Touring the Doll Hospital
Why so many senseless injuries? This one’s glass teeth
knocked out. Eyes missing, or stuck open or closed.
Limbs torn away. Sawdust dribbles onto the floor
like an hourglass running out. Fingerless hands, noses
chipped or bitten off. Many are bald or burnt. Some,
we learn, are victims of torture or amateur surgery.
Do dolls invite abuse, with their dent-able heads,
those tight little painted-on or stitched-in grins?
Hurt me, big botched being, they whine in a dialect
only puritans and the frequently punished can hear.
It’s what I was born for. I know my tiny white pantaloons
and sheer underskirts incite violation. Criers and crib-
wetters pursue us in dreams, till we wake sweat-
drenched but unrepentant, glad to have the order
by which we lord over them restored. Small soldiers
with no Geneva Conventions to protect them,
they endure gnawing, being drooled on, banishment
to attics. Stained by cough syrup, hot cocoa, and pee,
these “clean gallant souls” wear their wounds as martyrs’
garments. We owe them everything. How they suffer
for our sins, “splintered, bursted, crumbled . . .”
Every bed in the head replacement ward is occupied tonight.
Let’s sit by the legless Queen doll’s tiny wheelchair
and read to her awhile if she wishes it. In a faint
voice she requests a thimbleful of strong dark tea.
(Amy Gerstler, from Ghost Girl, Penguin 2004)
dying is fine)but Death
dying is fine)but Death
?o
baby
i
wouldn't like
Death if Death
were
good:for
when(instead of stopping to think)you
begin to feel of it,dying
's miraculous
why?be
cause dying is
perfectly natural;perfectly
putting
it mildly lively(but
Death
is strictly
scientific
& artificial &
evil & legal)
we thank thee
god
almighty for dying
(forgive us,o life!the sin of Death
Autumn Passage
On suffering, which is real.
On the mouth that never closes,
the air that dries the mouth.
On the miraculous dying body,
its greens and purples.
On the beauty of hair itself.
On the dazzling toddler:
“Like eggplant,” he says,
when you say “Vegetable,”
“Chrysanthemum” to “Flower.”
On his grandmother’s suffering, larger
than vanished skyscrapers,
September zucchini,
other things too big. For her glory
that goes along with it,
glory of grown children’s vigil.
communal fealty, glory
of the body that operates
even as it falls apart, the body
that can no longer even make fever
but nonetheless burns
florid and bright and magnificent
as it dims, as it shrinks,
as it turns to something else.
(Elizabeth Alexander, from American Sublime, Graywolf Press 2005.
"Poor Baba. He used to be a good poet. Now he was a dad and a husband, and he couldn't write anymore. He had an idea in his head, but that, unfortunately, was all he had. Through the years he'd build on it, adding layers and characters, descriptions of places he'd seen, hundreds of twisting anecdotes and witty lines, and store it all in his head. But because he wanted it to come out of his head perfectly, fully formed, like Athena out of Zeus (like, on some days, he believed I had come out of him), he could never let it go."This passage is a great one to include in notes of encouragement to all of the poets in your life.
"Poetry as art? Kind of. The museum hosts the 'Woodward Line' poetry series, which showcases local wordsmiths. The next reading, features Hayan Charara, Christina Archer and Nandi Comer, is at 6 p.m. Dec. 17."I'm not really sure that I get the weird distinction they're making between art and poetry. What, it isn't art unless you can hang it on the wall?
Date and Time: Thursday, December 11, 2008 7pm. Doors open 6:15.This year’s event will feature poets Marty McConnell, Tim Seibles, and Paco, as well as writers from the VOLUME Youth Poetry Project and Ann Arbor Wordworks.
Location: Rackham Auditorium at 915 E. Washington St.
Tickets: $5 for students of any kind in advance; $7 at door. $10 for general public in advance; $12 at door. Advance tickets can be purchased at Neutral Zone or contact Jeff Kass eyelev21aol.com or 734-223-7443 to reserve tickets at advance price.
ELEGY: Poems. By Mary Jo Bang. (Graywolf, $20.) Grief is converted into art in this bleak, forthright collection, centered on the death of the poet’s son.
HALF OF THE WORLD IN LIGHT: New and Selected Poems. By Juan Felipe Herrera. (University of Arizona, paper, $24.95.) Herrera, known for portrayals of Chicano life, is unpredictable and wildly inventive.
MODERN LIFE: Poems. By Matthea Harvey. (Graywolf, paper, $14.) Harvey is willing to take risks, and her reward is that richest, rarest thing, genuine poetry.
OPAL SUNSET: Selected Poems, 1958-2008. By Clive James. (Norton, $25.95.) James, a staunch formalist, is firmly situated in the sociable, plain-spoken tradition that runs from Auden through Larkin.
SIR GAWAIN AND THE GREEN KNIGHT: A New Verse Translation. By Simon Armitage. (Norton, $25.95.) One of the eerie, exuberant joys of Middle English poetry, in an alliterative rendering that captures the original’s drive, dialect and landscape.
SLEEPING IT OFF IN RAPID CITY: Poems, New and Selected. By August Kleinzahler. (Farrar, Straus & Giroux, $26.) Kleinzahler seeks the true heart of places, whether repellent, beautiful or both at once.
Lay It DownMy apologies to any beginning creative writing students who have written this exact same poem and think it's good. You'll learn. I hope.
Lay it down
just for me.
You've got the love I need.
No one like you --
What more do you want from me?
Take your time
(too much).
Stay with me by the sea,
all I need.
I'm wild about you
standing in the rain.
Thanks
Listen
with the night falling we are saying thank you
we are stopping on the bridges to bow from the railings
we are running out of the glass rooms
with our mouths full of food to look at the sky
and say thank you
we are standing by the water thanking it
smiling by the windows looking out
in our directions
back from a series of hospitals back from a mugging
after funerals we are saying thank you
after the news of the dead
whether or not we knew them we are saying thank you
over telephones we are saying thank you
in doorways and in the backs of cars and in elevators
remembering wars and the police at the door
and the beatings on stairs we are saying thank you
in the banks we are saying thank you
in the faces of the officials and the rich
and of all who will never change
we go on saying thank you thank you
with the animals dying around us
our lost feelings we are saying thank you
with the forests falling faster than the minutes
of our lives we are saying thank you
with the words going out like cells of a brain
with the cities growing over us
we are saying thank you faster and faster
with nobody listening we are saying thank you
we are saying thank you and waving
dark though it is
(W. S. Merwin, from Migration: New & Selected Poems, Copper Canyon Press, 2005.)
"If we are not here then no one can stop them being killed.”
- Dusabimana John, ranger from Virunga National Park, Africa's oldest national park. Virunga is one of the last homes of the endangered mountain gorillas. Almost a third of the 700 remaining in the world live in the forest. Others live in national parks in Rwanda and Uganda.
"Female macaques are much chattier than male macaques, according to a new study. The researchers say vocal communication is an important part of macaque social bonding and the findings may reflect similar patterns in the evolution of human language."Not only that, but:
"The researchers also found that the females preferred to chat with other females [and suggest that] this is because female macaques form solid, long-lasting bonds as they stay in the same group for life and rely on their female friends to help them look after their offspring. In contrast, males, who rove between groups throughout their life, chatted to both sexes equally."What? Baby monkeys being raised by two (or more!) mama monkeys? Uh, I don't know how comfortable I am with that. It sounds kind of, you know, gay. Whatever happened to one man monkey + one woman monkey monkey marriage? Somebody needs to get all Prop 8 on their same-sex preferential asses if you ask me.
Sonnet 146
Poor soul, the centre of my sinful earth,
[...] these rebel powers that thee array;
Why dost thou pine within and suffer dearth,
Painting thy outward walls so costly gay?
Why so large cost, having so short a lease,
Dost thou upon thy fading mansion spend?
Shall worms, inheritors of this excess,
Eat up thy charge? is this thy body's end?
Then soul, live thou upon thy servant's loss,
And let that pine to aggravate thy store;
Buy terms divine in selling hours of dross;
Within be fed, without be rich no more:
So shalt thou feed on Death, that feeds on men,
And Death once dead, there's no more dying then.
Letter Written on a Ferry While Crossing Long Island Sound
I am surprised to see
that the ocean is still going on.
Now I am going back
and I have ripped my hand
from your hand as I said I would
and I have made it this far
as I said I would
and I am on the top deck now
holding my wallet, my cigarettes
and my car keys
at 2 o’clock on a Tuesday
in August of 1960.
Dearest,
although everything has happened,
nothing has happened.
The sea is very old.
The sea is the face of Mary,
without miracles or rage
or unusual hope,
grown rough and wrinkled
with incurable age.
Still,
I have eyes.
These are my eyes:
the orange letters that spell
ORIENT on the life preserver
that hangs by my knees;
the cement lifeboat that wears
its dirty canvas coat;
the faded sign that sits on its shelf
saying KEEP OFF.
Oh, all right, I say,
I’ll save myself.
Over my right shoulder
I see four nuns
who sit like a bridge club,
their faces poked out
from under their habits,
as good as good babies who
have sunk into their carriages.
Without discrimination
the wind pulls the skirts
of their arms.
Almost undressed,
I see what remains:
that holy wrist,
that ankle,
that chain.
Oh God,
although I am very sad,
could you please
let these four nuns
loosen from their leather boots
and their wooden chairs
to rise out
over this greasy deck,
out over this iron rail,
nodding their pink heads to one side,
flying four abreast
in the old-fashioned side stroke;
each mouth open and round,
breathing together
as fish do,
singing without sound.
Dearest,
see how my dark girls sally forth,
over the passing lighthouse of Plum Gut,
its shell as rusty
as a camp dish,
as fragile as a pagoda
on a stone;
out over the little lighthouse
that warns me of drowning winds
that rub over its blind bottom
and its blue cover;
winds that will take the toes
and the ears of the rider
or the lover.
There go my dark girls,
their dresses puff
in the leeward air.
Oh, they are lighter than flying dogs
or the breath of dolphins;
each mouth opens gratefully,
wider than a milk cup.
My dark girls sing for this.
They are going up.
See them rise
on black wings, drinking
the sky, without smiles
or hands
or shoes.
They call back to us
from the gauzy edge of paradise,
good news, good news.
(Anne Sexton, from The Complete Poems of Anne Sexton, Houghton Mifflin, 1981)
Q: What do you get when you cross a monkey with a pie?Not only that, but it said that this piece of hilarity was sent in by Amanda C. And who should be visiting me right now but the fabulous poet Amanda Carver? Coincidence? I think not.
A: A meringue-utang!
The Great Society
Dentists continue to water their lawns even in the rain:
Hands developed with terrible labor by apes
Hang from the sleeves of evangelists;
There are murdered kings in the light-bulbs outside movie theaters:
The coffins of the poor are hibernating in piles of new tires.
The janitor sits troubled by the boiler,
And the hotel keeper shuffles the cards of insanity.
The President dreams of invading Cuba.
Bushes are growing over the outdoor grills,
Vines over the yachts and the leather seats.
The city broods over ash cans and darkening mortar.
On the far shore, at Coney Island, dark children
Playing on the chilling beach: a sprig of black seaweed,
Shells, a skyful of birds,
While the mayor sits with his head in his hands.
(Robert Bly, from The Light Around the Body, HarperCollins Publishers, 1967)
Biting into heads
is much harder than it looks.
The skull is fiesty.
Nothing hurts me now.
Normally the screwdriver
wouldn't have gone there.
You are so lucky
that I can not remember
how to use doorknobs.
I exit the car
as the others slouch away,
off for fresher food.
As I start walking
I try to remember where
people like to hide.
My dad used to say,
"Always finish what you start."
So I eat her hair.
"Economic data rarely inspire poetic thoughts. But as I was contemplating the latest set of numbers, I realized that I had William Butler Yeats running through my head: 'Turning and turning in the widening gyre / The falcon cannot hear the falconer; / Things fall apart; the center cannot hold.' "
"Great apes (don't call them monkeys people, please) have a lot to be depressed about. For one thing they haven't gotten over the murderous demise of their friend Diane Fossey. Oh, and they are tired of their babies being ripped out of their arms and sold to zoos, although they don't mind when kids throw them popcorn (don't tell their keepers I told you).For the record, I know the difference between monkeys and apes, and while this blog is called "Touched By A Monkey" I include all primates in that category. "Touched By A Primate" just doesn't sound right and would be a different kind of blog me thinks.
Mostly they don't like war, slash and burning or being made into still lifes."
And now I cannot remember how I would
have had it. It is not a conduit (confluence?) but a place.
The place, of movement and an order.
The place of old order.
But the tail end of the movement is new.
Driving us to say what we are thinking.
It is so much like a beach after all, where you stand
and think of going no further.
And it is good when you get to no further.
It is like a reason that picks you up and
places you where you always wanted to be.
This far, it is fair to be crossing, to have crossed.
Then there is no promise in the other.
Here it is. Steel and air, a mottled presence,
small panacea
and lucky for us.
And then it got very cool.
"When MT had the idea of a collage poem drawing on the work of ... oh, a hundred or so Detroit poets, it seemed the only person crazy enough to try and knowledgeable enough to pull it off was M.L. Liebler. The result — our first cover poem — speaks for itself. Abandon Automobile (2001), which Liebler co-edited with Melba Joyce Boyd, is the introduction to contemporary poetry in Detroit. Liebler's been in the trenches for years promoting series and group readings and building connections between the Detroit and the national and international scenes. Metro Detroit Writers, which he directs, offers the best one-stop directory to literary events in metro Detroit at springfed.org. This Thursday, Oct. 16, he's at Cliff Bell's with his Magic Poetry Band and guests from the Detroit Writers Workshop. Friday, Oct. 17, he's with Marge Piercy and others at the 18th Annual Bernard Firestone Labor Arts & Poetry Tribute, at McGregor Conference Center on the Wayne State campus. Saturday he kicks off the Kick Out the Jams Library Tour with John Sinclair and others in Ypsi. Did we mention he stays busy?"