Relevant poetry

I was standing in a bookstore in downtown Toronto a couple of weeks back, and opened The Essential Ginsberg, a collection of poems, songs and other writing by the late Allen Ginsberg, he of Howl fame*. I open the book at random and read the opening Ginsberg’s poem, Capital Air, which starts:

I don’t like the government where I live
I don’t like dictatorship of the Rich
I don’t like bureaucrats telling me what to eat
I don’t like Police dogs sniffing around my feet

Allen GinsbergEven though Ginsberg wrote it in 1980, it felt like something he would be writing today about America’s Trump government. Or about the increasing repression and fascism in his country. I shivered when I read it because it spoke aloud to now.

Ginsberg was more than a poet: he was also an outspoken political activist for freedoms and rights. Although he died in 1997, I’m sure he would be writing similar lines today, had he lived.

Of course, I had to buy the book (well, buying any book isn’t a difficult decision). Not just for this poem but for others he wrote, the best of which were collected within. I also picked up three more books of poetry: Rumi: The Big Red Book (trans. Coleman Barks)**; Haiku in English: the First Hundred Years (ed. Kacian, Rowland, Burns)***; The Essential Ginsberg (ed. Schumacher) and E.E. Cummings: The Complete Poems (ed. Firmage).

I initially passed on the 1,100-page Cummings’ collection because carrying a 4.2 kg – yes, I weighed it – hardcover in my knapsack through the hot city was daunting. But thought about it overnight, thought about how much he reminded me of Don Marquis and his delightful archy and mehitabel poems, that blank verse and their shared disdain for form, and how little I had of Cummings’s work on my shelves, then made a special trip back to the store to get it the next day. I also found the haiku*** collection beside it, a serendipitous find. ****

An odd thing happens when I read poetry. Normally, I read a dozen or more books at any one time: I am a fairly fast reader with good comprehension. I can juggle all the different types, styles and topics without losing much if anything between books. But when I read poetry, it’s like my brain shifts gears and drops off cruise control.

Reading slows down, it becomes more focused. The chattering monkey in my head stills. Words become heavier, as if gravity increased. I read poetry with more attention to each word, savouring each one, sometimes repeating lines in my head several times, feeling for the rhythm, the wavelike motion of each. I parse each line with more attention than I do to prose. A single, page-long poem can take me as long to read as a chapter in, say, a novel or a history.

I usually re-read the entire poem, once I’ve gone through it, just to try out different emphasis on syllables. Find its inner music, weigh the words. Even poems I’m familiar with – and I am prone to re-reading my favourites – take longer than prose, as if I need to digest each line at a measured pace until it settles in my mind. 

It’s like music: emotionally entwining – but without the accompanying sound it’s a subtle mystery I have to decode. Although I can read music with a child-like effort, when I stumble through a songsheet, figure out the notes and how the tune progresses, I feel a great sense of accomplishment. Same with poetry. When the poem finally settles in me, I feel like I’ve achieved something, solved something.

I have no difficulty writing prose. It falls off me like water from a roof in a rainstorm. But poetry for me is a slog, the death march of my intellect. I can’t disconnect the monkey brain that demands I analyze, assess, parse each word as I attempt to write. it’s like building a Lego house while stopping to measure the distances between each block and compare the height of their protrusions. I have nothing but respect, admiration and a bit of envy for those who are able to write it with any ease.

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Does poetry make things happen in 2018?

WB Yeats on poetryI was thinking about how little poets seem to matter to modern political administrations. Maybe to modern society as a whole. Their light has, it seems, been waning for several decades as our collective attention shifts.

I was thinking about what an odd, awkward fit it would be for a poet to be invited to today’s anti-literacy White House. Would he or she have to start each conversation with the question “Have you read…” dreading the answer would be a blank stare, a silent shake of the head and the turning of eyes to smartphones and TVs blaring Faux News.

I was thinking of how John Kennedy asked Robert Frost to read a poem at his 1961 inauguration. Poetry still mattered then. Of how Carter, Clinton and Obama also invited poets to read at their inaugurations. Poetry seemed to fade after Kennedy, possibly because the Vietnam War invited more protest than introspection. Possibly because his death cut down many muses, as well. Possibly because we turned increasingly to TV and then the internet as our source of inspiration, not books. A 2015 CNN article noted:

The cult of people who buy books of poetry in the U.S. is almost certainly dwarfed by the 20 million or so viewers who watch a single episode of “Game of Thrones.”

A mere five poets were invited to attend and read at presidential inaugurations in more than 50 years. The CNN article noted:

Many Americans’ exposure to poetry today is limited to inspirational snippets on fridge magnets or a few verses recited every four years when a poet is trotted out at a presidential inauguration.

But that’s only true for Democratic presidents. Republicans shy from poets. At the Trump inauguration? None: just a handful of wannabe celebrities, some sycophants and has-beens. No poets, no authors, no reading, no evidence of culture deeper than the superficial. Not even as good as a single episode of America’s Got Talent.

Thus is the new world of politics: reduced to a small screen and a handful of words. No deep insight, no big reads. Is poetry disappearing from our lives? Sublimating to texting, Twitter, Instagram and such platforms that require little to no thought, but demand instant response and mindless reaction?
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Strat Plan Part 4: Economic Vitality

CartoonstockWhat, you may ask, is meant by the term “Economic Vitality” – the third objective in our town’s strategic-plan-in-the-works? Apparently it’s one of those motherhood statements people make on soapboxes and campaign platforms that have little grist in them to mill into actuality.

Sure, we all want a town that has a lively, thriving economy. but how do we achieve it? No one has an answer – not one-size-fits-all answer. certainly it isn’t found in the woo-hoo strategic plan. The economy’s health depends on creating a suitable, supportive environment that both attracts and sustains business and commerce.

Let’s start with an understanding that governments do not create private sector jobs. They can only create an environment where the private sector feels it worth the investment to do so. And the cost of doing business in a town plays a major role in that decision (i.e. low taxes and low utility fees).

Last term, council’s collective attitude towards business and keeping taxes low saw much growth and development: Goodall expanded, the glass plant expanded, Pilkington Glass added shifts. New restaurants and bars opened. Three microbreweries opened. The mall was revitalized with new stores and shopping opportunities. Cranberry Mews mall grew.  it was a boom time.

The previous council can’t take credit for private growth and expansions: what it can take credit for is being welcoming, supportive and keeping taxes and utility rates as low as possible. Last council also initiated the hiring of a new, dynamic marketing and economic development director, and created a new small business centre that brought together a wide range of community partners and NGOs to work together cooperatively and successfully for common goals.

Yet I hear you say that our current council went against this grain right off the bat by raising taxes and water rates while giving themselves a pay hike – making the town less attractive to business (and making themselves look avaricious and petty). That’s pretty anti-business!

So, you ask, how can they say they want economic vitality when council is deliberately undermining this goal? That’s a bit of a conundrum. The overtly anti-business attitude of this council is a hurdle that will not be easily overcome until the next election. They have created the reputation that Collingwood is closed for business. It will not easily be reversed.

Also, word on the street says this council is poised to divest itself of the airport – one of the few actual economic success stories in Collingwood. Council has already irrevocably damaged the once-good relationship with our municipal neighbours who are partners at the airport to the point Wasaga Beach is planning to pull its financial support. Instead of developing this as a regional success story and promoting it, council will destroy it like it did our utility service board.

So let’s examine the goals and proposed action items in the strategic plan that relate to economic vitality. Try not to guffaw too loudly.

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Ontario’s Sex Education

Idiot protestersAs Frank Zappa sang in his 1968 song, What’s The Ugliest Part Of Your Body?:

What’s the ugliest
Part of your body?
What’s the ugliest
Part of your body?
Some say your nose
Some say your toes
I think it’s your mind, your mind,
I think it’s YOUR MIND, woo woo

I’m not a fan of the Wynne government, but I respect their current willingness to wade into the public muck that clings to any attempt to implement or even update a sex education curriculum in public schools. The old curriculum was last updated in 1998 – years before sexting became headlines, before the internet became awash with pornography or Millie Cyrus twerked onstage. Before young women committed suicide over cyberbullying and rape videos. Before we became this hyper-sexualized culture.

Whether you agree with the curriculum, you have to admit it takes a brave government to tackle something that has always been a flashpoint for public dissension, and all too often a rallying point for the uber- and religious right (always a vocal minority). Governments should be willing to tackle the tough issues, not simply pander to the vote or themselves.

The protesters may have some valid points about the age at which some of the content may be presented, and those should be considered. However, the protests have become trolling dragnets; capturing all sorts of ideological and theological flotsam and jetsam. Frankly, much of what floats to the media surface from these protests is idiotic, chaotic and archaic.

Governments should not kowtow to the fringe, no matter how vocal it gets.

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Great books: the academic view

Great BooksIn the mid-1990s, journalist David Denby took on a personal challenge to return to Columbia University for a year to take two courses, both focused on reading the “great books” of the Western canon. The results and his observations – along with an entertaining bit of biography about his journey – is told in Great Books (Simon & Schuster, 1996).

I was interested in Denby’s narrative primarily because, in looking through the table of contents, I noticed he commented on Machiavelli and Montaigne – two of my favourite writers. That made me want to read what he says about them, and about others, so of course I purchased the book.

But of course, the book is about a lot more than those two: it covers a wide range of Western writing from Homer to Virginia Woolf. The actual reading list covers almost four full pages at the beginning of the book. It is not a collection of great English writing – the original languages include ancient Greek, Latin, Hebrew, French, German, Spanish and one sample of Russian (an essay by Lenin). All, of course, in an English translation.

Surprisingly, there are no works by or excerpts from the great Russian novelists like Tolstoy and Dostoyevsky. No Latin American, Chinese or African writers, either. But there is a significant difference between a list compiled for reading during a single academic year and a comprehensive list of great books meant to convey the breadth of culture, learning and civilization.

Also, the list is specifically a Western canon, not a world canon.

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The Death of Handwriting?

I almost cried in pleasure when I watched this video; the handwriting is so beautiful. Apparently some viewers have, as Jesus Diaz writes. On Gizmodo he says that it’s:

…a video that caused many to discover autonomous sensory meridian response, a perceptual phenomenon that gives a pleasing tingling sensation. Some said they got it watching people writing. Well, put your headphones on, because this is the mother of all calligraphy ASMR videos.

Okay, maybe it is for me because I was raised with handwriting and still delight in it. Penmanship was taught in school at least for a few years when I was there. In fact, I was in Grade 9 penmanship class when the news of President Kennedy’s assassination was broadcast over the school’s PA system. It’s one reason I can still recall taking penmanship, although I think it was the last year of it for me.

Penmanship taught more than just basic cursive: it skirted the boundaries of calligraphy, trying to teach resistant and recalcitrant students how to craft beauty out of our splotchy letters scratched from ink with clumsy fingers. Control, frugality, grace; things adolescents seldom have in quantity. But somehow, some of it stuck, and even though I lack the grace of the calligrapher in the video, I can still thrill in making those swoops, the lines, to hear the scrape of the nib on the paper.

True, I fail in great part because my gel-point and ballpoint pens haven’t the aesthetic pleasantry of a real ink-and-nib pen.

Diaz also informs us:

It’s a demonstration of a fountain pen—a Namiki Falcon customized by nibmeister John Mottishaw—with crystal clear video and sound, writing with various inks (if you’re curious: Iroshizuku Tsuki-yo, Iroshizuku Yama Budo, Noodler’s Black, Noodler’s Apache Sunset) on Bristol board and Leuchtturm1917 dot grid notebook paper.

I don’t know about you, but even the sight of a well-crafted fountain pen makes my heart beat a little faster. And paper? I’ve been known to loiter in art and stationary shops, fondling the sheets in notebooks, searching for that perfect feel, the ultimate sensation of paper on fingertips that through some osmotic process will encourage me to pick up a pen and dip it in the inkwell.*

Details aside, I find the act of writing itself fulfilling – and watching a master calligrapher at his art even more so, like watching a ballet or listening to a symphony being performed live. And it reminds me that in handwriting there is an enormous cultural heritage we should never lose – can never lose without losing something of ourselves.

But if some muddle-headed educators and some dizzy-wth-digital trustees have their way, our whole culture may suffer from enforced dysgraphia – which Wikipedia tell us is a

…deficiency in the ability to write, primarily in terms of handwriting, but also in terms of coherence.

Call me old-fashioned, but I think that the death of handwriting would be to culture what the death of bees will be to agriculture.
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