Posts Tagged ‘The Cantos


Poetry Assignments: The Book (Online): Stupid Money, Dumb Politicians, & Celebrating America


Brian Warner's The Cave

“The Cave” by Brian Warner. Used with the permission of Brain Warner.

or 100 Jackhammers for the Poet with Writer’s Block;

or 100 Ways to Jumpstart the Engine;

or 100 Pencil Exercises;

or 100 Ways to Stimulate Your Next Wine, Cheese, & Poetry Night


Table of Contents


  1. Finding the First, Discovering the Middle, & Chasing the End
  2. Imaginary Worlds
  3. Science, the Universe, Time, & Other Evolutions
  4. Fun with Letters, Words, Language, & Languages
  5. Forms: Obscure, Updated, & Invented
  6. New School; or Double Vision; or WWI (Writing While Intoxicated) & Its Repercussions
  7. Miscellany; Trying to Relate the Unrelated; or These Gotta Go Some Place . . . So Here
  8. Stupid Money, Dumb Politicians, & Celebrating America
  9. Responses; or Calling All Poets (Dead & Alive); or Talking to Eternity
  10. It’s All About You


Stupid Money, Dumb Politicians, & Celebrating America

Money Sucks; Money is Oppressive

Somewhere along the way money was thrust upon us. We are now forced to use money against our will. Some of us are no good with money, & yet we are forced to deal with it. And the lazy wealthy – who are talentless, make money off the poor working people – they break our backs. But what if the currency was different? . . .

I think humans are creative people. I think money stifles creativity, except for the creative scammers – the lazy wealthy, the usurers. But what if the currency of the world was Art?

That’s your assignment. Explore a world in which Art is currency. The Art currency of your world can be whatever you want – paintings, music, poems, sculptures, etc., or a combination.

In my imagination, the currency is paintings. So the painters are the wealthy, & the art critics are the bankers & the stock brokers, who invest in trends – Dada is down 20 points today, Cubism is up 5 1/8, Dogs Playing Poker remains unchanged, etc.

As Mike Dockins said when I explained this idea to him, “I wrote a poem today. I’m rich.”

Go forth. Make art. Have a wealthy life!

(9-2-06 addendum): Definitions for paragraphs one & two of poetry assignment: The Rich – Work for a living. The Wealthy – Pay the Rich their salaries. In paragraph three, the wealthy are beautiful, but the bankers and stock brokers – the usurers – are still evil and vile.


Writing like the Politicians Speak

This is what I wrote to myself halfway through Tim Parks’ Medici Money: Banking, Metaphysics, and the Art in Fifteenth-Century Florence (W. W. Norton & Co., 2005):

If you want to write a poem of/on politics, try the following method: Use meter &, perhaps, rhyme. Create the appearance of stability. Lay on top of that the language of ambiguity & uncertain clarity. Use a twisted syntax with its own logic – flowing & contradictory. Make sure there is a lot of change happening in your narrative, or lyric. And end as you have begun (but try to cover a time frame equal to a generation or two or five.) – for nothing really changes – hence the stability of meter & rhyme to carry the chaos of content.

But this will only work, I think & maybe wrongly, if you are writing a political poem of direct confrontation. It may or may not work if you are just brushing up against something political as your poem naturally moves on its own way.

Ok. Now go get Poetilitical. If you want, start your poem “With Usura” as Pound begins Canto XLV of The Cantos & as Parks begins Medici Money.


Quarter Tales; or Two Bits is Worth One Poem, or a Shave & a Haircut

California QuarterThe U.S. Mint is pressing out the new quarters with state themes. Each state quarter has a few images on the tail’s side that are associated with the state’s culture, personality, history, geography, myths, etc. For instance, California’s quarter “depicts naturalist and conservationist John Muir admiring Yosemite Valley’s monolithic granite headwall known as ‘Half Dome’ and also contains a soaring California condor” (U. S. Mint).

Your assignment is to create a narrative from the images that appear on a state’s quarter. Each image must appear in the poem, & hopefully each image will appear twice to make the narrative cyclical, like the quarter. (You do not necessarily have to write about the state the images are representing.)

For more information & for pictures of the quarters, go to this PDF from the U.S. Mint:

It’s advised to actually hold & stare at the actual quarter you are writing about. The quarter may affect you in ways a picture of it cannot. Its texture might effect your perceptions, or it may even talk to you. Who knows? But the physical connection with the quarter will only be beneficial.

If you are lucky & determined enough, you could have a whole book of 50 poems, which, of course, will be titled Quarter Tales, &, of course, people will only be able to purchase the book with quarters. And if you are doubly lucky, you might even get it published by 2008 – the year of the last five state quarters: Oklahoma, New Mexico, Arizona, Alaska, & Hawaii.



Gregory Orr’s Concerning the Book That Is the Body of the Beloved (2005)

Over the next few weeks or months, I will post all my reviews (“Tom’s Celebrations”) that appeared in Redactions: Poetry, Poetics, & Prose (formerly Redactions: Poetry & Poetics) up to and including issue 12. After that, my reviews appeared here (The Line Break) before appearing in the journal. This review first appeared in issue 6/7, which was published circa mid-2006.


Gregory Orr's – Concerning the BookThis book should be on every poet’s bedside like a bible. It’s a bible of poetry. It’s a bible of what poetry is, what love is, & how to live. And it’s beautiful. And it’s tones are so caring & sincere & helping – filled with care & love. And the poems are short, mostly a page long, for each poem is a burst of understanding & vision, but they move slow when I read them, but seem to have only taken a brief moment to have read when I’ve finished, & then a dizziness arrives wondering if I just read one poem or two or three poems. The poems obliterate time, & sing humanity & love. The book is a bible for poets because it reminds us of what poetry is & does, & shows us that there is no separation between persons, love, & poetry, for they are all in unison, all one – hence the title of Gregory Orr’s book Concerning the Book That Is the Body of the Beloved (Copper Canyon Press).

But instead of talking about the content, I’m going to talk about how Concerning makes the content work. The tone of the poems arrives early: from early lines in Concerning’s prefatory poem — “Resurrection of the body of the beloved, / Which is the world. / […] / That death not be oblivion.”; from lines in the opening poem —

   The beloved is dead. Limbs 
   And all the body’s 
   Miraculous parts 
   Scattered [...] 

   We must find them, gather 
   Them together, bring them 
   Into a single place [...] 

                           a book 
   Which is the body of the beloved, 
   Which is the world.

And in the third stanza from the following poem on page 10:

   The shape of the Book 
   Is the door to the grave, 
   Is the shape of the stone 
   Closed over us, so that 
   We may know terror 
   Is what we pass through 
   To reach hope, and courage 
   Is our necessary companion.

And a few more lines in the next poem beginning “When I open the Book” (p 11) & lines from the poem “Sadness is there, too” (p 13).

(Note: these poems do not have titles.) And the tones of sadness with hope are carried in waves throughout Concerning & ride the other tonal waves – harmonic tonalities, but I’ll get to that later.

So we’ve got our tonal bases, now. What else is in the poet’s bible for us poets to learn or be reminded of? We are reminded from where poems arise. We know they arise from our experiences, but when we write we call up other poems, or rather, what other poems do. (All poems talk to each other.) Consider these lines from this poem:

   When Sappho wrote: 
   “Whatever one loves most 
   Is beautiful,” [...] 

   Everything in the Book 
   Flows from that single poem 
   Or the countless others 
   That say the same thing 
   In other words, other ways. 
                                              (p 25)

A bit later in Concerning, in the poem starting “To feel, to feel, to feel,” consider the lines:

   Poem after poem, song 
   Upon song. And all 
   With the same chorus: 
   “Wake up, you’re alive.” 
                                        (p 45)

Isn’t this what all poems do? Don’t they all sing & confirm love, beauty, & life — humanity? Or better put:

   Which is to say: 
   Composing poems 
   And melodious songs 
   That celebrate the world. 
                                          (p 190)

We can continue with this thinking of what every poem does. Robert Bly said something like, “Every poem is an anti-war poem.” And in Ernesto Cardenal’s Cosmic Canticle, after about 100 pages of the beauty of the universe & its creation & its growth, Cardenal steps in to remind us that it is the responsibility of the Latin-American poet to write political poems, & then he does. Concerning realizes Bly & Cardenal. And there are a few political poems, but I just want to note one for what it does – it turns a war poem into a love poem.

   July sun on the green leaves 
   Of that chestnut tree, 
   Intense as when ancient armies 
   Beat their swords on their shields. 

   The beloved marches toward us, 
   Cannot be resisted. 
   Throw down our weapons 
   And beg for mercy. 
   This much love defeats us. 
                                             (p 105)

But there is more because what is said is being done with the harmony of the long E. The first stanza has 6 long Es, & all the lines in the stanza rhyme the long E. Also note that the first two lines create a setting of beauty with long-E words “green,” “leaves,” & “tree.” But it’s not beauty; it’s oppressive heat. So the poem provides a harmonic contrast in the next two lines of violence & war with “armies,” “beat,” & “shields.” Then the long E is dropped, like the weapons, until the last two lines with “mercy” & “defeat,” which harmonize but do not rhyme for the violence is defeated with love & mercy.

There is also a larger harmony in Concerning, reminiscent of Pound’s harmonic tonalities in The Cantos. Concerning’s large harmony rests in the B-words of “book,” “body,” & “beloved,” as they are repeated frequently throughout. But there’s more, & I’ll show it this way. Robert Duncan claimed in each poem there is one syllable that is more stressed than any other syllable in the poem. We can agree or not with Duncan, but the idea applies to Concerning because the words that resonate most in the book are the words that make the important theme in Concerning, which is the connection of book-body-beloved, so these words that receive the most stress throughout. I’ll illustrate with the poem beginning “In the spring swamp.”

   In the spring swamp 
   The red-winged blackbird 
   Perched on a cattail stalk: 
   Have you heard its song? 
   If you have, no need of heaven. 
   No need of divine resurrection. 

   It’s one of those birdsongs 
   That hold a spot in the Book, 
   Saving that space until 
   A human song comes along 
   Worthy to replace 
   All that wordless love. 
                                     (p 99)

You can hear how “Book” receives more stress than the other syllables. So one might think, “But this undermines the poem’s important message of love.” But the poem resolves this conflicted interest between the major theme of Concerning & the major theme of love in the poem. The poem does it like this. You can hear in this poem many stressed syllables, which are often next to each other for two syllables, like “spring swamp,” or three stressed syllables, like “cattail stalk” or “those birdsongs,” or even for four stressed syllables, like “red-winged blackbird.” All those heavily grouped syllables coupled with the rhythm push into the last line’s “All” & give it more stress than it might normally have & it definitely increases its duration, which will then be balanced by “love,” which has more accent because of rhythm & because of the long duration of the “v”. Plus, being at the end of the line, “love” reverberates off into eternity, or heaven – or so it feels. And by adding eternal duration & more stress to “love” (that clichéd word, in that clichéd position as the poem’s last word), the poem overcomes, & love overcomes the clichés & gains impact & profundity, & it resonates. And thus it emphasizes the theme without detracting from the “Book.” But I have a little more to say. This poem also does what it says. The poem’s rhythms & stresses have filled “love” with meaning, & thus, usurped its clichédness. And the usurping is like the human song replacing “All that wordless love.”

But wait, you’re saying, of course, “love” at the end of a poem is going to resonate with the V-sound. But consider this poem:

   Saying the word 
   Is seizing the world. 
   Not by the scruff, 
   Not roughly, 
   But still fervent, 
   Still the fierce hug of love. 
                                            (p 115)

In this poem, the short-U sounds in “scruff,” “roughly,” “hug,” & “love” usurp the clichéd meaning “love” like the stresses in the poem just mentioned. But here love is pronounced different. It is cut off short because the emphasis is on the short-U sound – it steals the resonance of the V-sound, pulls it back. And again the poem is doing what it says. The speaker seizes love – hugs, holds love in place – & keeps it from drifting away, just like the sound of “love” doesn’t drift off at the poem’s end. A better way of saying all this is:

   The heart uttering its hurt 
   And its happiness: syllables 
   Whose rhythm captures 
   The pulse of sorrow or joy, 
   The slow ache or throb of it. 
                                              (p 23)

Yes, the poems in Concerning the Book That Is the Body of the Beloved are “melodious songs / That celebrate the world.” At the same time, this book is really one long poem, & we learn to breathe, or gasp, at the end of each poem making up the whole big poem. The gasping is the book’s rhythm, it stresses the joy of each poem,

   And when joy 
   Arrives – hard 
   To read at all. 
   Blinking at Page-dazzle; 
   The words Breaking apart 
   Into letters, 
   Dancing there, 
   Unable to calm down. 
                          (p 73)

And I have been unable to calm down.//




Orr, Gregory. Concerning the Book That Is the Body of the Beloved. Port Townsend, WA: Copper Canyon Press, 2005.//



You can read my other review here: Amazon Review. (Look for “Thomas Holmes ‘Redactions’.”)//

The Cave (Winner of The Bitter Oleander Press Library of Poetry Book Award for 2013.)

The Cave

Poems for an Empty Church

Poems for an Empty Church

The Oldest Stone in the World

The Oldest Stone in the Wolrd

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Pre-Dew Poems

Pre-Dew Poems

Negative Time

Negative Time

After Malagueña

After Malagueña

Enter your email address to subscribe to The Line Break and receive email notifications of new posts.

Join 2,877 other followers

January 2022


The Line Break Tweets

%d bloggers like this: