Wednesday, March 14, 2018

Platonic Lovers’ Vendetta



.
.
Stalking Mr. Hawking’s physics was the prize –
they’d waited long and wearily for his demise.
Could they shanghai it, undercover, in disguise?
.
Swiftly done! Platonic lovers Yetta and Baletta
did it. Philosophy again was king! Vendetta,
won. The ruling physics now were meta.
.



.

Tuesday, March 13, 2018

Nothing Left But



Creation is a blast.
Happens irremediably fast.
.
Flushed like methane out of mud,
combusting into fire out of blood,
.
a bastard anarchist, a tease
who gripes at her intricacies
.
but ultimately undergoes
that multitude of throes
.
exacted by a kickass craft: mastery
as dire as catastrophe –
.
sentencing her like a Pontius Pilate
to be hyperconscious of the riot
.
she is given to incite and to assuage,
only to be murdered in its rage.
.
Mission: to employ and to destroy.
Nothing left but joy.
.
.
.

Monday, March 12, 2018

Celebrating Clara Schumann, Arlene Hajinlian, Reed Woodhouse and the New York that made everyone (but Clara) possible.







what a thrilling day, and what a vindication of New York life - which needs no vindication but I like pointing them out anyway because they’re just so juicy. Arlene Hajinlian and I are going to play 3 romances by Clara Schumann at the Broadway Bach Ensemble chamber musicale to be presented at 7 or 7:30 (I’ll give proper info closer to the time) in the parish hall behind the Presbyterian Church wherein we play orchestral concerts at 114th St & Broadway on March 22. Arlene had the good idea of suggesting that we get Reed Woodhouse to listen to what we’ve been doing with these exquisite pieces – in which Clara Schumann demonstrates her extraordinary talent as a composer (she was known for being a piano virtuoso at a time when such a career was all but unthinkable for a woman) – they’re so harmonically and rhythmically supple -- gentle, ardent, poignant, charming – written the year Robert Schumann died so it’s hard not to see them as a particularly pointed expression of love for him. (I’m always dragging artists’ bios into the work; I’m told I shouldn’t but I can’t help it.) 
.
Anyway Reed invited us to a practice room at Julliard (getting clearance even to walk into Julliard is a little like visiting a lockdown asylum), and he was the model coach. He has many facets to his genius but one of them is to zero in on the organizing principle(s) in a piece which not only illuminate(s) what the piece is “saying” but how performers can “say” it. You’ll see in my little video swatch from the 2nd romance below that the octave was at the germinating heart of this particular thing. However, you’ll hear it and much else to much greater and I hope much more regaling effect if you can make it to that musicale. Arlene is a joy to play music with, a marvelous pianist – we did the lovely little two movement Mozart e minor sonata at the Bway Bach chamber concert last year (when this pic of us was taken) – and I think these pieces by Frau Schumann are going to have a similarly magical effect – if that is, I don’t screw it up. Arlene won’t, believe me, so she’ll be worth the price of admission (which in this case is free! but you know what I mean) – and I’ll do my best to keep spirits afloat. The collage pic of Reed and me is just my celebration of the enjoyment we take in each other – or anyway that I take in him. I got some pretty great cronies, I’ll tell ya. New York life vindicated again and again and again.

youtube vid - (Octaves in the 2nd romance: violin only alas.)


.


Means of Transport



Think about it, take a cab, go get tested in a lab,
call your little brother to remind you of that joke,
order six six-packs of Coke, study Latin harder –
as if you’d quantities of answers kept like eggs
.
and milk and butter in a larder, fresh as long
as you believed in them, ready for the choosing,
using, losing.  But how exactly do you get from in
to out to there to here to anywhere? Your means
.
of transport are a queer shenanigan – imagine if
we knew that what you do to make the story of your life
come true depends on flying in un-flyable contraptions,
so disastrously incapable of getting off the ground
.
that anyone who saw you trying to effect a flight that way,
would stare, embarrassed, down, away, too stricken
at the sight of it to meet your eyes: and yet in spite of it
you rise, and sometimes even soar, or if not soar
.
then hop and stumble and get up again and dream
of so much more of what and where you think you are
that you’ve no doubt that’s where and what you'll be.
Your real life is a mystic inning in a ballgame no one
.
knows you’re playing every day. No one, anyway, but me.
That’s what you don’t say. That’s the secret unconveyable
essential key to how you get to something for which
you can care, how you can bear believing what you see.
.
You say that none of it is true. No room in it for you:
don’t know with whom it has to do – unless it’s me.
Must be me, the chimpanzee. You say it’s time
I climbed back up my tree.
.

Sunday, March 11, 2018

Take Me to the Bullfrog Pond!


.
.
When Luther sits beside his large amorphous brother
Ruperderma, whose rose-pink translucence rarely
strikes him now as anything but silly nuisance
and whose incapacity for thinking he need ever look
ahead apparently has left him idiotically without
a necessary sense of dread that he’d be dead one day
and that to laze about as if life were a holiday is not
the way Lou knew we had to pay for this existence,
he wonders, how can you know you’re anywhere if
you don’t know one day you won’t be here? Dare to scare
yourself with the reality of absence – reckon with 
the beckoning of the abyss, witless thing! Ruperderma
sat there happy in his dilly-dallying. Sometimes he’d sing:
“Take me to the bullfrog pond and marry me to me!
Then let’s let the three of us decide what you will be.”
.

.

Thursday, March 8, 2018

None of It




It isn’t that he isn’t trying to be happy.
He bravely greets each circumstance with cheer.
But circumstances all seem separated from him by a gap he
can’t negotiate. None of it convinces him he’s here.





.

Monday, March 5, 2018

Contracting with the Color God


One day he had displayed gradations of such
mild sunlit colors as you would associate with hay.
The next, he’s taking on innumerable shades of blue.
He’d always wondered what the Color God
.
would choose to use for him as his inimitable hue.
And so he’d signed a contract with that god to be
a human canvas onto which this Maestro
of all Shades would then array the subtle timbres
.
he had contemplated might be worth it to pursue.
An asterisk after “pursue” betook him to espy right
at the bottom of the document that signing it
meant he’d receive a bonus of eternal life.
.
Out of any god’s gateau, that surely, for a mortal,
had to have to be the nicest slice. What could there be
now but eternal fascinations and delights? The Color
God appeared already to have found him inexhaustible.  
.
Unless, as the unwelcome thought began to press,
he was a reflex: an all-purpose surface to imbue with
drippings from the chromosphere the Hue-god had
a whim to view. He never knew, he’d had to guess.
.
Would it matter? Surely no. Then, oh! – before his
second century of servitude was done, when it had
long been not remotely fun, he wished he could emend
his answer to a please-have-mercy-on-me YES:
.
it matters. But the contract was unmerciful,
as odds say contracts are with gods. He was its slave.
Its tenure was forever, an un-openable gate:
the lesson (keep your guard up with a god) too late.
.
He was bereft.
But then he thought,
what god?
And he got up and left.
.
.