Poem Ten: Values

Poem Ten: Values

Poem Nine: Always Departing

An excerpt of

An excerpt of “Always Departing” by Matthew Mulder from the anthology Rooftop Poets.

National Poetry Month, weekend edition, part two

Poetry continues the Great Conversation. What is truth? How do we know it? Who are we and how should we live? Often reserved for philosophers, these surface questions are the result of the friction from winds of poetry.

What came first? Philosophy? Or Poetry? Since Theogony pre-dates many philosophical writings, I submit that poetry came first. Poetry is the wind that troubles the water.

But I am no scholar. Only a modern-day peasant who watched as twelve- to eighteen-foot waves battered the rocky Lake Michigan shoreline this weekend.

On a gray, stormy afternoon, I retreated to the public library in Racine. A book of translations of Han Shan needed to be renewed for the fourth or fifth time. And the children needed to get out of the apartment. Besides, the more you check out books of poetry the more funding the library gets based on your activity and/or interest in certain subjects. Or so I am led to believe by local librarians.

I was introduced to the Cold Mountain poems during one of the library’s writers groups. Since then I have read and studied several books of translations from Wang Wei, Ryokan, Han Shan, Basho and others.

During the last few years, I find my writings turning toward dialogues with these poets. Here is a sample Cold Mountain poem from Han Shan, a Taoist/Buddhist hermit, as translated by Red Pine:

Since I came to Cold Mountain
how many thousand years have passed
accepting my fate I fled to the woods
to dwell and gaze in freedom
no one visits the cliffs
forever hidden by clouds
soft grass serves as a mattress
my quilt is the dark blue sky
a boulder makes a fine pillow
Heaven and Earth can crumble and change

A quick read reveals a surface feast of images and imagination. After reading and thinking about this poem for a few months there are things inferred and/or referenced. Is the An Lu-shan Rebellion referred to in the third line? Is there a reference to the bodhisattva Avalokiteshvara? Heaven means the emperor. Earth means the empire. Is the last line political? Or philosophical?

While Han Shan wrote this poem on rocks or trees, elsewhere in the world Beowulf was composed. Charles Martel expanded the Frankish Empire. What do I say to Han Shan? Why did you flee? What and/or who did you leave behind?

Earlier this year I shared poems with a high school group on invitation of the tutor. Han Shan was one of the poets I recited (among other poets like Ghalib and Akhmatova). After the class, one of the tutors thanked me for visiting the class. She was grateful that the young men in the class saw a man engaged and enthusiastic about poetry and literature. The tutor asked how I became interested in poetry. My answer was that poetry is part of the Great Conversation.

Poem Eight: There’s a place

Poem: Theres A Place

NOTE: Originally published April 12, 2011, https://coffeehousejunkie.net/2011/04/12/poem-theres-a-place/

Poem Seven: Saturday Night, Coffeehouse

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NOTES: Originally published in Rapid River Arts & Culture Magazine, April 2004.

Poem Six: Prairie Constellations

“Prairie Constellations” by Matthew Mulder from the book Late Night Writing.

Poem Five: Last night at the New French Bar

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Last night at the New French Bar, was published in Crab Creek Review.

National Poetry Month, weekend edition, part one

Poems well composed haunt readers. Like an old injury, they return with an ache during inclimate weather. It is April. Yet snow covered the ground earlier this week. Along edges of many fields near Whitewater, small mounds of unmelted snow still remained.

It is National Poetry Month. Like the season, it is time to celebrate in spite of the frosty conditions.

An open mic I visited this week featured one young poet amid a variety of singer songwriters. The poem shared was morose, hurried and full of mixed metaphors. Nothing wrong with that. I dare say a lot of my early work resided in that landscape. I hope to hear more of her work.

A prominent poetry publication arrived in the mail a couple weeks ago. I read nearly midway through the publication searching for a memorable line or image. Nothing. A lot of doleful activism and academic rubric. Maybe it was the reader’s fault. Maybe after more rest I will pick up the publication, reread the poems and find something notable.

This weekend, while rearranging a bookshelf I noticed a stack of books, newspapers and magazines. Included were old issues of The New York Times, books of poetry translations, a couple American poetry books and a copy of the May 2011 edition of Poetry magazine.

The publication featured a Dana Gioia poem with a haunting opening line “So this is where the children come to die, . . .” How can you not keep reading this poem? It is so good. In the second part of the poem, the speaker reflected, “I’d lost one child/and couldn’t bear to watch another die” and ended that part of the poem with “But there are poems we do not choose to write.” From the first line of the first part of the poem to the last line of the third part, the poem “Special Treatments Ward” was exceptional.

A poem that possesses a reader like Dana Gioia’s poem “Special Treatments Ward” will survive long after the April snow has melted.

Poem Four: Never look a doughnut dealer in the eyes

Never Look A Dealer in the Eyes

NOTES:
1) Originally published April 5, 2011, https://coffeehousejunkie.net/2011/04/05/poem-never-look-a-doughnut-dealer-in-the-eyes/
2) This is a rough draft and includes typos, erroneous grammar and other literary warts. In this case, perfume is intentionally misspelled to represent a unique American accent.

Poem Three: Loneliness visits

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Loneliness visits, was published in ISM Quarterly.