A song by Robert Burns, translated by Rabindranath Tagore (1861-1941). Arranged and performed by the trio Swagatam (Prakriti Dutta, Barnaby Brown & Hardeep Singh) live at the University of Glasgow, 27 January 2011.
A song by Robert Burns, translated by Rabindranath Tagore (1861-1941). Arranged and performed by the trio Swagatam (Prakriti Dutta, Barnaby Brown & Hardeep Singh) live at the University of Glasgow, 27 January 2011.
Sung by Madelaine Cave.
One thing I don’t need
is any more apologies
I got sorry greetin me at my front door
you can keep yours.
I don’t know what to do wit em
they don’t open doors
or bring the sun back.
They dont make me happy
or get a mornin paper
didn’t nobody stop usin my tears to wash cars.
Cuz a sorry
I am simply tired
of collectin
I didn’t know
I was so important to you
I’m gonna haveta throw some away
I can’t get to the clothes in my closet
for alla the sorries.
I’m gonna tack a sign to my door
leave a message by the phone
‘if you called
to say your sorry
call somebody
else!
I don’t use em anymore’
I let sorry/ didn’t meanta/ & how could I know about that?
Take a walk down a dark & musty street in brooklyn!
I’m gonna do exactly what I want to
& I won’t be sorry for none of it!
Letta sorry soothe your soul/ I’m gonna soothe mine!
You were always inconsistent
doin somethin & then bein sorry
beatin my heart to death!
Talkin bout you sorry well,
I will not call,
I’m not goin to be nice,
I will raise my voice,
& scream & holler
& break things & race the engine
& tell all your secrets bout yourself to your face
& I will list in detail everyone of my wonderful lovers
& their ways I will play oliver lake loud!
& I wont be sorry for none of it
I LOVED YOU ON PURPOSE, I WAS OPEN ON PURPOSE!
I still crave vulnerability & close talk
& I’m not even sorry bout you bein sorry!
you can carry all the guilt & grime ya wanna
just dont give it to me!
I cant use another sorry
next time
you should admit
you’re mean/ low-down/ triflin/ & no count straight out
steada bein sorry alla the time
enjoy bein YOURSELF
Source: Instagram, @stellathought
Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man’s gift and that man’s scope
I no longer strive to strive towards such things
(Why should the aged eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?Because I do not hope to know again
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I know that time is always time
And pray to God to have mercy upon us
Because these wings are no longer wings to fly
But merely vans to beat the air
Pray for us sinners now and at the hour of our death
II
Lady of silences
Under a juniper-tree the bones sang, scattered and shining
We are glad to be scattered, we did little good to each other,
III
At the second turning of the second stair
Damp, jagged, like an old man’s mouth drivelling, beyond repair,
At the first turning of the third stair
Lord, I am not worthy
IV
Who walked between the violet and the violet
Made cool the dry rock and made firm the sand
Here are the years that walk between, bearing
White light folded, sheathing about her, folded.
The silent sister veiled in white and blue
But the fountain sprang up and the bird sang down
Till the wind shake a thousand whispers from the yew
And after this our exile
V
If the lost word is lost, if the spent word is spent
O my people, what have I done unto thee.
Where shall the word be found, where will the word
Will the veiled sister pray for
O my people, what have I done unto thee.
Will the veiled sister between the slender
Yew trees pray for those who offend her
O my people.
VI
Although I do not hope to turn again
Blessed sister, holy mother, spirit of the fountain, spirit of the garden,
__
‘Ash-Wednesday’, from Collected Poems 1909-1962 by T S Eliot, © T S Eliot 1963, Faber & Faber Limited
It is better to be
Together. Tossed together
In a white wave, than to see
The ocean like an eagle.
It is better to lie
In the stormy seething
Than to judge the weather
In an eagle’s eye.
Cold is the bird
Who flies too far
In the clear vision
Which saints and eagles share:
Their faraway eyes are bitter
With darkened prayer.
O, it is better to try
WIth the white wave, together
To overturn the sky.
It is better to be together.
__
From Floating Island, 1965.
Ruth Miller was a South African poet, born in 1919 in Uitenhage. She grew up in the northern Transvaal and spent her adult life in Johannesburg, working as a school secretary and later an English teacher. The accidental home death by electrocution of her son, aged 14, clouded the last six months of her life; she produced nothing for some time, and subsequently wrote some of her finest work. She died of cancer in 1969. More HERE.
Big Thief’s album Capacity is definitely a strong contender for my favourite album discovered this year. Listen to the whole thing HERE.
I in my straight jacket swung in the sun,
In a hostile pause in a no man’s time.
The spring his green anchor had flung.
Around me only the walking brains,
And the plack of their onelegged dreams
As I hung,
I tell them this –
Only the deaf can hear and the blind understand
The miles I gabble.
Through these my dances of dunce and devil,
It’s only the dumb can speak through the rubble.
Time shall drop his spit in my cup,
With this vicious cut he shall close my trap
And gob me up in a drunkard’s lap.
All spirits shall haunt me and all devils drink me;
O despite their dark drugs and the digs that they rib me,
I’ll tear off my terrible cap.
The road seen, then not seen, the hillside
hiding then revealing the way you should take,
the road dropping away from you as if leaving you
to walk on thin air, then catching you, holding you up,
when you thought you would fall,
and the way forward always in the end
the way that you followed, the way that carried you
into your future, that brought you to this place,
no matter that it sometimes took your promise from you,
no matter that it had to break your heart along the way:
the sense of having walked from far inside yourself
out into the revelation, to have risked yourself
for something that seemed to stand both inside you
and far beyond you, that called you back
to the only road in the end you could follow, walking
as you did, in your rags of love and speaking in the voice
that by night became a prayer for safe arrival,
so that one day you realized that what you wanted
had already happened long ago and in the dwelling place
you had lived in before you began,
and that every step along the way, you had carried
the heart and the mind and the promise
that first set you off and drew you on and that you were
more marvelous in your simple wish to find a way
than the gilded roofs of any destination you could reach:
as if, all along, you had thought the end point might be a city
with golden towers, and cheering crowds,
and turning the corner at what you thought was the end
of the road, you found just a simple reflection,
and a clear revelation beneath the face looking back
and beneath it another invitation, all in one glimpse:
like a person and a place you had sought forever,
like a broad field of freedom that beckoned you beyond;
like another life, and the road still stretching on.
from David Whyte‘s Pilgrim, ©2012 Many Rivers Press
Cumberland Nature Reserve, KwaZulu-Natal, 26 December 2017
Profundity from a computer voice reading Bob Dylan lyrics.
(after Molly Drake)
I remember firelight
I remember firelight
I remember firelight
But it was just your smoke and mirrors.
Alack! what poverty my Muse brings forth,
That having such a scope to show her pride,
The argument all bare is of more worth
Than when it hath my added praise beside!
O! blame me not, if I no more can write!
Look in your glass, and there appears a face
That over-goes my blunt invention quite,
Dulling my lines, and doing me disgrace.
Were it not sinful then, striving to mend,
To mar the subject that before was well?
For to no other pass my verses tend
Than of your graces and your gifts to tell;
And more, much more, than in my verse can sit,
Your own glass shows you when you look in it.
(From 1×1 [One Times One] (1944).
This interview. Such a rare human being.
The white balance on the two cameras differs and it’s a little annoying (if you notice such things). Other than that, I highly recommend you watch this if you admire the man and his work.
On cold days
it is easy to be reasonable,
to button the mouth against kisses,
dust the breasts
with talcum powder
& forget
the red pulp meat
of the heart.
On those days
it beats
like a digital clock-
not a beat at all
but a steady whirring
chilly as green neon,
luminous as numerals in the dark,
cool as electricity.
& I think:
I can live without it all-
love with its blood pump,
sex with its messy hungers,
men with their peacock strutting,
their silly sexual baggage,
their wet tongues in my ear
& their words like little sugar suckers
with sour centers.
On such days
I am zipped in my body suit,
I am wearing seven league red suede boots,
I am marching over the cobblestones
as if they were the heads of men,
& I am happy
as a seven-year-old virgin
holding Daddy’s hand.
Don’t touch.
Don’t try to tempt me with your ripe persimmons.
Don’t threaten me with your volcano.
The sky is clearer when I’m not in heat,
& the poems
are colder.
When the rhythm of the heart becomes hectic,
Time takes on the strain until it breaks;
Then all the unattended stress falls in
On the mind like an endless, increasing weight,
The light in the mind becomes dim.
Things you could take in your stride before
Now become laborsome events of will.
Weariness invades your spirit.
Gravity begins falling inside you,
Dragging down every bone.
The tide you never valued has gone out.
And you are marooned on unsure ground.
Something within you has closed down;
And you cannot push yourself back to life.
You have been forced to enter empty time.
The desire that drove you has relinquished.
There is nothing else to do now but rest
And patiently learn to receive the self
You have forsaken for the race of days.
At first your thinking will darken
And sadness take over like listless weather.
The flow of unwept tears will frighten you.
You have traveled too fast over false ground;
Now your soul has come to take you back.
Take refuge in your senses, open up
To all the small miracles you rushed through.
Become inclined to watch the way of rain
When it falls slow and free.
Imitate the habit of twilight,
Taking time to open the well of color
That fostered the brightness of day.
Draw alongside the silence of stone
Until its calmness can claim you.
Be excessively gentle with yourself.
Stay clear of those vexed in spirit.
Learn to linger around someone of ease
Who feels they have all the time in the world.
Gradually, you will return to yourself,
Having learned a new respect for your heart
And the joy that dwells far within slow time.
___
from ‘To Bless the Space Between Us: A Book of Blessings’ (Doubleday, 2008).
Thank you, Michelle, for sending this to me.
i’m never really here
never really not here
this is the in-between
where we un-appear
in the web of day to day
it’s the back alleyway
that sucks us in
mind that gap, gal, you say,
it’s no zero-sum game.
ja-nee
it’s a dirty crack habit
but i’m not paying, pal!
i’m chasing that rabbit
i’m hunting that quark
i’m ripping, unzipping
tumbling through the dark
i’m pulled, i’m polluted
the vertigo’s heady
the jostling vacuum
blaring and unsteady
warrens of voids
streaming past
screaming future
endlessly new
have i seen this already?
uh-huh, it’s not pretty
these blown-up dead pixels
no taste, so not witty
they stink like nothing
on earth
in asunderland
nothing rots
i’m always here, not-here
it’s off with me ’ead
when bored, i bore deeper
through holes yet unread
i need more; drop a fresh tab
hop a window
and i tiptoe
past the daemon
with a keygen
while it snores
unlock the door
to
another tube flickr-ing
twittering, bickering
low resolution
there’s no revelation
there’s no revolution
just revaluation
search optimisation
and too many shares
i spin rumpelstiltskins’
straw dogs into gold
using worm-riddled troll jam
i scavenge ‘twixt threads
i needle this grey gunk
i snip it to shreds
i bump and i juggle
grind bones badly bred
i flip and i giggle
i slough off my shame
i slurp it up, spew it out
flooding the drain
logged in or logged out
i have no real name
if I do it is M.U.D.
and i’m out of my death
and where is my body?
my own flesh and blood
it sleeps with the ‘fiches
not holding its breath
see, it doesn’t do digital
it keeps crashing
so it’s chained to the terminal
wired to the grid
with a stay of execution
logged on or logged off
the haunted dimension
buzzes in my marrow
drowns out my dreams
howls me back
out of bed
out of the car
out of the street
from the supermarket
from the sunset
from supper
in a stupor
on my phone
into my inbox
unto my outbox
onto the blog
*welcome to [UR(hel)L]*
you can’t turn off a never-present stranger.
(2010)
Though it seems so dark
and the ceiling of the world’s a wound
and so many hours have been bruised,
and so many lives have been broken,
there are stars up there tonight
and we must name them,
we must love them,
we must whistle them down like dogs
in faith of their shine
and they will be loyal.
They will show us where their bones are.
They will teach us
their soft, bright tricks of devotion.
And even on the blackest nights,
when hope and protest
are knotted in our throats,
when our smiles have been tarred
and buckled with the weight and stain
of shadows,
we have to remember they are there,
those glittering sky-hooked prayers,
prickling and humming,
embedded in that thick and lovely blue,
guarding us from spite,
keeping the moon from slipping,
herding the pale lamb-like dawns
into our sleeping houses
where they flow
through all our rooms
fluent and loving as milk.
_
From here. Check out more poetry by Gaia Holmes on her blog. Thank you to Michelle McGrane (Peony Moon) for the introduction.
(With thanks to Lesego Rampolokeng for sharing this on Facebook last night.)
One upon a time in San Francisco there was a man who really liked the finer things in life, especially poetry. He liked good verse.
He could afford to indulge himself in this liking, which meant that he didn’t have to work because he was receiving a generous pension that was the result of a 1920s investment that his grandfather had made in a private insane asylum that was operating quite profitably in Southern California. In the black, as they say and located in the San Fernando Valley, just outside of Tarzana. It was one of those places that do not look like an insane asylum. It looked like something else with flowers all around it, mostly roses.
The checks always arrived on the 1st and 15th of every month, even when there was not a mail delivery on that day. He had a lovely house in Pacific Heights and he would go out and buy more poetry. He of course had never met a poet in person. That would have been a little too much.
One day he decided that his liking for poetry could not be fully expressed in just reading poetry or listening to poets reading on phonograph records. He decided to take the plumbing out of his house and completely replace it with poetry, and so he did.
He turned off the water and took out the pipes and put in John Donne to replace them. The pipes did not look too happy. He took out his bathtub and put in William Shakespeare. The bathtub did not know what was happening.
He took out his kitchen sink and put in Emily Dickinson. The kitchen sink could only stare back in wonder. He took out his bathroom sink and put in Vladimir Mayakovsky. The bathroom sink, even though the water was turned off, broke out into tears.
He took out his hot water heater and put in Michael McClure’s poetry. The hot water heater could barely contain its sanity. Finally he took out his toilet and put in the minor poets. The toilet planned on leaving the country.
And now the time had come to see how it all worked, to enjoy the fruit of his amazing labor. Christopher Columbus’ slight venture sailing West was merely the shadow of a dismal event in the comparison. He turned the water back on again and surveyed the countenance of his vision brought to reality. He was a happy man.
“I think I’ll take a bath,” he said, to celebrate. He tried to heat up some Michael McClure to take a bath in some William Shakespeare and what happened was not actually what he had planned on happening.
“Might as well do the dishes then,” he said. He tried to wash some plates in “I taste a liquor never brewed,” and found there was quite a difference between that liquid and a kitchen sink. Despair was on its way.
He tried to go to the toilet and the minor poets did not do at all. They began gossiping about their careers as he sat there trying to take a shit. One of them had written 197 sonnets about a penguin he had once seen in a travelling circus. He sensed a Pulitzer Prize in this material.
Suddenly the man realized that poetry could not replace plumbing. It’s what they call seeing the light. He decided immediately to take the poetry out and put the pipes back in, along with the sinks, the bathtub, the hot water heater and the toilet.
“This just didn’t work out the way I planned it,” he said. “I’ll have to put the plumbing back. Take the poetry out.” It made sense standing there naked in the total light of failure.
But then he ran into more trouble than there was in the first place. The poetry did not want to go. IT liked very much occupying the positions of the former plumbing.
“I look great as a kitchen sink,” Emily Dickinson’s poetry said.
“We look wonderful as a toilet,” the minor poets said.
“I’m grand as pipes,” John Donne’s poetry said.
“I’m a perfect hot water heater,” Michael McClure’s poetry said.
Vladimir Mayakovsky sang new faucets from the bathroom, there are faucets beyond suffering, and William Shakespeare’s poetry was nothing but smiles.
“That’s well and dandy for you,” the man said. “But I have to have plumbing, REAL plumbing in this house. Did you notice the emphasis I put on REAL? Real! Poetry just can’t handle it. Face up to reality,” the man said to the poetry.
But the poetry refused to go. “We’re staying.” The man offered to call the police. “Go ahead and lock us up, you illiterate,” the poetry said in one voice.
“I’ll call the fire department!”
“Book burner!” the poetry shouted.
The man began to fight the poetry. It was the first time he had ever been in a fight. He kicked the poetry of Emily Dickinson in the nose.
Of course the poetry of Michael McClure and Vladimir Mayakovsky walked over and said in English and Russian, “That won’t do at all,” and threw the man down a flight of stairs. He got the message.
That was two years ago. The man is now living in a YMCA in San Francisco and loves it. He spends more time in the bathroom than everybody else. He goes in there at night and talks to himself with the light out.
Where am I going? I don’t quite know.
Down to the stream where the king-cups grow-
Up on the hill where the pine-trees blow-
Anywhere, anywhere. I don’t know.
Where am I going? The clouds sail by,
Little ones, baby ones, over the sky.
Where am I going? The shadows pass,
Little ones, baby ones, over the grass.
If you were a cloud, and sailed up there,
You’d sail on water as blue as air,
And you’d see me here in the fields and say:
“Doesn’t the sky look green today?”
Where am I going? The high rooks call:
“It’s awful fun to be born at all.”
Where am I going? The ring-doves coo:
“We do have beautiful things to do.”
If you were a bird, and lived on high,
You’d lean on the wind when the wind came by,
You’d say to the wind when it took you away:
“That’s where I wanted to go today!”
Where am I going? I don’t quite know.
What does it matter where people go?
Down to the wood where the blue-bells grow-
Anywhere, anywhere. I don’t know.
__
From “When We Were Very Young,” A.A. Milne, 1924.
With thanks to Gareth Jones for sending this to me yesterday (how did you know?)…
i don’t think so.
but i forgive you, girl,
who tallied stretch marks
into reasons why no one should get close.
i forgive you, silly girl,
sweet breath, decent by default.
i forgive you for being afraid.
did everything betray you?
even the rain you love so much
made rust out of your jewellery?
i forgive you, soft spoken girl
speaking with fake brash voice,
fooling no one.
i see you, tender
even on your hardest days.
i forgive you,
waiting for him to call,
i forgive you the diets
and the cruel friends.
especially for that one time you said
‘i fucking give up on love,
it’s not worth it,
i’d rather be alone forever’.
you were just pretending, weren’t you?
i know you didn’t mean that.
your body, your mouth, your heart,
made specifically for loving.
sometimes the things we love will kill us,
but weren’t we dying anyway?
i forgive you for being something that will eventually die.
perishable goods,
fading out slowly,
little human,
i wouldn’t want to be in a world
where you don’t exist.
I shut my eyes and all the world drops dead;
I lift my lids and all is born again.
(I think I made you up inside my head.)
The stars go waltzing out in blue and red,
And arbitrary blackness gallops in:
I shut my eyes and all the world drops dead.
I dreamed that you bewitched me into bed
And sung me moon-struck, kissed me quite insane.
(I think I made you up inside my head.)
God topples from the sky, hell’s fires fade:
Exit seraphim and Satan’s men:
I shut my eyes and all the world drops dead.
I fancied you’d return the way you said,
But I grow old and I forget your name.
(I think I made you up inside my head.)
I should have loved a thunderbird instead;
At least when spring comes they roar back again.
I shut my eyes and all the world drops dead.
(I think I made you up inside my head.)
The diver is my love
And I am his, if I am not deceived
Who takes one breath above for every hour below the sea
Who gave to me a jewel
Worth twice this woman’s life, though it cost her less
Than laying at low tide to see her true love phosphoresce
And in an infinite regress
Tell me why is the pain of birth
Lighter borne than the pain of death?
I can’t claim that I loved you first
But I loved you best
I know we must abide
Each by the rules that bind us here:
The divers and the sailors and the women on the pier
And how do you choose your form?
How do you choose your name? How do you choose your life?
How do you choose the time you must exhale and kick and rise?
And in an infinite capsize
Like a boat tearing down the coast
Double hulls bearing double masts
I don’t know if you loved me most
But you loved me last
Recall the word you gave
To count your way across the depths of this arid world
Where you will yoke the waves that lay a bed of shining pearls
I dream it every night
The ringing of the pail, the motes of sand dislodged, the shucking, quick and bright
The twinned and cast off shells reveal a single heart of white
And in an infinite backslide
Ancient boulders sink past the west
Like a sword at the bearer’s fall
I can’t claim that I knew you best
But did you know me at all?
A woman is alive, a woman is alive
You do not take her for a siren
An anchor on a stone, alone, unfaceted and fine
And never will I wed
I’ll hunt the pearl of death to the bottom of my life
And ever hold my breath ’til I may be the diver’s wife
See how the infinite divides
And the divers are not to blame
For the rift spanning distant shores
You don’t know my name
But I know yours
__
Thank you Gareth for seeing and helping connect the dots.
EXHIBITION OPENING
THURSDAY 25 MAY: 18H00 – 20H00
CLICK HERE FOR PREVIEW
Ignis Fatuus
Those–dying then,
Knew where they went–
They went to God’s Right Hand–
That Hand is amputated now
And God cannot be found–
The abdication of Belief
Makes the Behavior small–
Better an ignis fatuus–
Than no illume at all–
Poem 1551 by Emily Dickinson (1882)
WHATIFTHEWORLD is pleased to present Ignis Fatuus – a debut solo exhibition by painter and installation artist Ruby Swinney. Swinney’s work explores what it means to live in a vanishing natural world that is growing progressively darker and unfamiliar. Through the blurring of both South African and imaginary landscapes her work evokes a sense of loss of faith in what it means to be human in a time of intolerance, mistrust, violence and environmental uncertainty. Drawing on this uncertainty Swinney creates surreal tableaux in which she revels in the strange and unpredictable moods of the natural world and its ability to both alter and transcend human experience.
PAIN has an element of blank;
It cannot recollect
When it began, or if there were
A day when it was not.
It has no future but itself,
Its infinite realms contain
Its past, enlightened to perceive
New periods of pain.
__
Emily Dickinson (1830–86). Complete Poems. 1924.
“Fearfully in Danger” (Live at Volksbühne, Berlin) from the album Killer Road – A Tribute To Nico, released in 2016 on Sacred Bones Records. Directed and edited by Barbara Klein.
Killer Road is a sound exploration of the tragic death of Nico, Velvet Underground vocalist and 60s icon, while riding her bike on the island of Ibiza in the summer of 1988. A hypnotic meditation on the idea of perpetual motion and the cycle of life and death, the composition features Patti Smith lending her unique voice to the last poems written by the artist. Soundwalk Collective uses a travel log of field recordings and samples of Nico’s signature instrument, the harmonium, to create a magnetic soundscape.
Hold me against the dark: I am afraid.
Circle me with your arms. I am made
So tiny and my atoms so unstable
That at any moment I may explode. I am unable
To contain myself in unity. My outlines shiver
With the shock of living. I endeavor
To hold the I as one only for the cloud
Of which I am a fragment, yet to which I’m vowed
To be responsible. Its light against my face
Reveals the witness of the stars, each in its place
Singing, each compassed by the rest,
The many joined to one, the mightiest to the least.
It is so great a thing to be an infinitesimal part
of this immeasurable orchestra the music bursts the heart,
And from this tiny plosion all the fragments join:
Joy orders the disunity until the song is one.
___
In The Weather of the Heart (1978).
The wind suffers of blowing,
The sea suffers of water,
And fire suffers of burning,
And I of a living name.
As stone suffers of stoniness,
As light of its shiningness,
As birds of their wingedness,
So I of my whoness.
And what the cure of all this?
What the not and not suffering?
What the better and later of this?
What the more me of me?
How for the pain-world to be
More world and no pain?
How for the faithful rain to fall
More wet and more dry?
How for the wilful blood to run
More salt-red and sweet-white?
And how for me in my actualness
To more shriek and more smile?
By no other miracles,
By the same knowing poison,
By an improved anguish,
By my further dying.
__
From the preface to Poems: A Joking Word, published in 1930:
“Before anything has got to be, it has got to be preceded by something that has not got to be. These poems have got to be. Or rather, when they weren’t they had got to be. Or rather, I had got not to feel myself and think doom but to think myself and feel doom. (p 9)
“My poems then are instead of my life. I don’t mean that in my poems I escape from my life. My life itself would be nothing but escaping, or anybody’s. I mean that in my poems I escape from escaping. And my life reads all wrong to me and my poems read all right. And by doom I don’t mean the destruction of me. I mean making me into doom – not my doom but doom. Made into doom I feel made. I also feel making. I feel like doom and doom feels like me.” (pp 10-11)
Read more about Laura Riding HERE.