November 7, 2011

Alan Fox

INTIMACY

I know something about gifts,
especially today, the day after my 66th Christmas,
most given with love, but often side-armed
as a stone which skips across the water
then sinks.

I do know something about gifts,
both given and received,
which is why, though I have much to say,
the first and most important words I say are thanks
to you for the gift of your time in visiting with me now.

Not many Sundays ago
My wife and I talked with an older poet,
now attached to oxygen by a plastic tube,
who lives in the snow of upstate New York
with his younger, devoted wife.

With the tape almost exhausted I flicked off my recorder,
thanked him for his time, and began to pack my things.
“You came all the way from California just for that?”
“I thought it was a very good conversation,” I stammered,
not wishing, never wishing, to offend.

So we stayed, my wife and I.
She asked him some pretty good questions
while his own wife massaged his neck.
Finally he offered a deeper truth, “I’m lonely up here,
never get out, just wanted you to stay a little longer.”

There you have it, both my hunger and his,
to spend a little more time with each other, and with you,
to offer and receive the scraps we have harvested from long lives,
to share both wheat and straw, we ask, never admit we beg,
for your attention, dare I say your love.

All of the above was provoked by a movie I just saw,
“Memoirs of a Geisha,” in which two hours or more
of unrequited love is followed by a tender ending.
Walking to the car, my father spoke of a dinner
in a restaurant in Japan, fed to my mother and him by two Geisha.

I remember one of his photos from that trip,
last seen fifty years ago—my memory is selective and long—
in which a skeletal horse is attached to a wagon
piled so high with Japanese stuff,
that I wondered how the horse could ever pull it,

which is exactly where I find myself tonight,
at the end of a very long year,
attached to a life which is piled so high
with all the stuff of my preferences and my past,
that I wonder how I can ever continue to pull the entire load.

Suddenly I feel that I approach the precipice
of New Year’s Resolutions. I’ve never kept
a single one for more than a week or two,
so I’m confident that 2006, which begins in a few days,
will be no different. Bear with me for a little.

I’ll let you in on a secret. Even though I write poetry, even though
I edit and publish a poetry journal and have enjoyed conversations
over the past ten years with many of the best poets our country has to offer,
I probably have read less poetry in my life than anyone
who has read “Leaves of Grass” all the way through.

Why do I reveal this? It is as a gift to you,
a freedom to shake off the reins and bridle
of what you have been taught, those iron stereotypes
of how you should live your life. You can be a poet
without writing, or even reading, any more poetry than you like.

I remember that I often offer an observation
which I more need to hear than to speak,
that the task for each of us in our life
is to find our niche
and occupy it. So here I am.

I have chosen to be a horse
pulling a wagon which is piled each year
higher and higher with tasks begun, complexities,
while my knees now ache, my muscles weaken,
while I remain, in my heart, a young stallion, immortal.

I need a rest. Walt Whitman spent a lifetime
in writing what we can read in a few hours.
I sit here uncomfortable in my skin because I have balked,
refused to pull my load now for three full days.
And the universe has not stopped.

from Rattle #25, Summer 2006

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July 7, 2011

Alan Fox

VANISHED

Fondly, I covet my neighbor’s life
the leaves in his garden, flustering
the wind I blow from running
thirsty steps from doom.

Along the river there is bank,
along the bank a path,
a road, a house, and barbeque,
English, Art, and Math.

When time comes
as it never can
I think I’ll boil an egg
and eat another chicken leg.

from Rattle #34, Winter 2010

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May 21, 2011

Alan Fox

GLIMPSE

          After Mrs. Henderson Presents

Auto-immune disease rages
throughout the world tonight
as cells at war in a single body—
call it diabetes, call it AIDS—
kill each other off.

The search for a cure rages
throughout the world tonight
as scientists search for antidotes—
call them antibiotics, call them forever—
with the real disease undiagnosed.

We know each other not
in days or years, but moments
when the outer shell divides, to reveal
as in the flickering shots of a movie
when Judi Dench pirouettes with her feather boas.

It is the glimpse of her
telling herself she is young
telling herself life is ahead—
call her foolish, call her wise—
I know her as only a brother can.

So when my phone rang last Sunday
and it was my birthday and I knew
I would need to smile and say—
call me conformist, call me a liar—
“Thank you, I’m having a wonderful day.”

Today was better than yesterday
when I didn’t arrive at work until three
and people’s bodies seemed hulking strange—
call it depression, call it ennui—
they seemed to assault me, not with intent.

One, a few, and many of my parents’ “no’s” delivered
when I was young taught me what you expect:
to glimpse a certain part of me—
and no more, I call you human, I call you strange—
the cell of me attacks the cells of you and we kill each other off.

from Rattle #26, Winter 2006

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December 9, 2010

Alan Fox

I LIKE TO WATCH

I like to watch my wife when
she walks around our bedroom
naked before preparing
for the day or for the night.

Perhaps she appeals to my
sexual lust, or sense of aesthetics,
or intimacy, careless of the hiding
which otherwise rules our lives.

Which is why I write poems
Which is why I watch movies
Which is why I am silent
until I whisper this to you.

from Rattle #33, Summer 2010

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November 23, 2010

Alan Fox

LEAVING LAKE TAHOE

I have grown careful,
quite careful,
about to whom and what
I attach myself in this life—

dreams are fragile
outside the womb of the mind.
I stand in the living room
of a home I will never see again.

I’ve done this, elsewhere, before—
said “goodbye” to the panoramic view
the furniture I can no longer house,
the memories—most important—the memories.

In an hour I will drive to the airport
in a rented van, carrying a few
works of art, my suitcase, several mementoes—
the fragrance of the trees—

and my part of the soul
of my brother, who fished
and hiked and flew kites here
not many years before.

Quoth the Raven,
“Nevermore.”

from Rattle #23, Spring 2005

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September 27, 2010

Alan Fox

MY RIGHT KNEE

Until a month or so ago
I never thought much
about my right knee.

Oh, there was Thanksgiving, years ago,
when one of my knees locked up.
The knee doctor’s nurse merely asked,
“right knee or left?”
and took an MRI, but never explained the problem.
It disappeared anyway in a few days,
so I surmised it was gout, which hits me
in different joints, from time to time.

This is different.
I have to walk down stairs one at a time.
It’s not easy for me to turn over in bed.
When I sit at my desk for an hour
I have to think before I stand up.

I know. See a doctor. I will.
But there’s a deeper point here.
My aging.
I’m not used to physical impairment.
I have almost never stayed home sick,
my body has always worked quite well
which is why I have never thought much
about my fingers
or my wrists
or my heart
or, until now, my right knee.

from Rattle #24, Winter 2005

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September 8, 2010


from CONVERSATION WITH MOLLY PEACOCK ON OCTOBER 27TH, 2008, AT THE LUXE HOTEL IN BRENTWOOD, CA

FOX: Many poets have talked about music or jazz as being akin to poetry. It seems to me in terms of expressing emotion, maybe it’s easier in music, or painting, than it is in words.

PEACOCK: Well, music is perhaps the most purely emotional art in that it doesn’t have to “articulate” anything. And painting creates the image. And those are two arts that I feel are tucked inside poetry. When we talk about the vision of the poet, we can liken that to painting, and that’s where we get ideas of word-painting. The music of the poem is—well, there are two musics in the poem: there’s the music of the line, which I think of as like a baseline—if we’re still in the jazz mode—so there’s that baseline going; and then there’s the music of the sentence, quite separate, it’s prose music. People who only pay attention to the music of the sentence get accused of writing chopped-up prose, but there is a distinct sentence music that unfolds over the lines. Those rhythms—the base-line rhythm beneath each line as well as the rhythm of the sentence wrapping around the lines—combine to create deep emotional states. And sometimes, as poets, we’re not even aware of what those emotional states really are. And the imagery—when we talk about the vision of a poet, I think actually we’re talking about a poet’s imagery. When we say, “Wallace Stevens’ vision” or “William Carlos Williams’ vision” or “Elizabeth Bishop’s vision” or “Sonia Sanchez’s vision,” I think we’re largely talking about what they envision in their imagery.

FOX: You’re known as a new formalist—

PEACOCK: Yeah…[laughs]

FOX: [laughing] Why do you laugh at that?

PEACOCK: [laughing] At this point I feel a little bit like an old formalist! But, yes.

FOX: Well, how does formalism enter into your writing for you, in terms of the vision, the imagery, all that?

PEACOCK: I’m a psychological formalist, how’s that? My interest in formal poetry started because I began with too-hot-to-handle subject matter. I was in psychological states that were just flooding me with feeling and language, and I didn’t know what to do with them. I didn’t want just to vomit something out on a page, yet I wanted to write deeply personally. I wasn’t interested in abstraction at all when I started off writing. I just was too consumed by feeling. So that’s what drew me to formal boundaries. Because I thought, if I knew how to use formal devices, then I could infuse them with what I was feeling and thinking, and I would be making art at the same time. I wanted to make art, and for me, a formal poem is an art object, just because of the level of precision. And when I see a sculpture, say, a brass sculpture that is highly polished, or a sanded wood sculpture that someone sanded again and again and again, hundreds of times returning to it to get that surface—that’s the kind of art object that I’m talking about.

And I should tell you that my sensibility is extremely visual, as you’ve no doubt figured out by my analogies—I’m starting off with a paint chip, for crying out loud! As a child I drew and painted, but words, I suppose, the articulation of something, became more important to me. But I’ve always had a lust for the visual, and my thinking tends toward the image.

Another aspect of formal poetry that drew me to it is that it ensured a kind of musicality. And formal poetry also addressed the inadequacies I felt about class. I’m a working-class girl from Buffalo, New York. I’m the first person in my family to go to college. I wanted to write “real poetry” and someone from a more sophisticated background would’ve understood that they could’ve broken all kinds of boundaries in poetry, but I wanted to be certified as a real poet and to me that meant the poets that you read in school—where else did I read them? They certainly weren’t at home; no one there was talking about them. So, that meant Keats. John Donne. It meant—it’s bizarre to call Keats a formalist; he did what he did as a poet, not a so-called formalist. But I thought I needed to be able to do that. Then I’d be real. And then if I wanted to throw verse structures away, of course I could do it later, when I’d become grand and sophisticated and educated and I could through it all away. But I felt like I had to learn it first.

FOX: Isn’t that kind of like an artist learning the classical-style perspective, then they can go to abstract if they want to—

PEACOCK: Yes, absolutely, absolutely. I think it’s just like studying figuration—all that Renaissance gray under-painting before they put the color on, stuff like that. We’re always connecting with the past, and one of the ways we connect with the past is through technique. And this is also psychological for me as well. You cannot choose your family. You’re given your family. But as you become an artist, specifically a poet, you choose your poetic family. You get to discover your literary aunts and uncles and the writers you’re related to. And it can be a very disparate family. The older you get, the larger the family becomes, and the more you read, the more poets you encounter from around the world, or poets you rediscover and discover that they were part of your family after all—the interconnectedness is part of what draws me to formal technique.

FOX: Wouldn’t it be fair to say also that you find you can better communicate that flood of emotion through more formal imagery than another way?

PEACOCK: Well, it’s not exactly that the imagery is formal. It’s that the rhythms of the language and the sound system is formal. That’s really what it is. And then the imagery can be bizarre. I have a poem called “Anger Sweetened” in which there’s a bizarre image of a candied grasshopper (like chocolate ants only this is a grasshopper dripping with sweet). It’s a terrifying image, and when it came into my head, I thought, Ugh, this horrifies me. But it horrified me so much that I had to go for it. And I realized that it was an image of holding back your anger and kind of candying your words, and I ended up writing a sonnet about that called “Anger Sweetened.” That’s an example—I mean the image is bizarre, it’s not a “formal image,” it’s almost like a film image or something inside the formal poem.

FOX: Is what you’re trying to get at a deeper communication than we normally would have in a social setting?

PEACOCK: I’m interested in the surfaces of things, but I’m not interested in the superficial. [laughs]

FOX: Ah, what’s the distinction?

PEACOCK: By surfaces I might mean I’m interested in—how can I say—the textures of life. The glass texture, or the texture of fabric, and that’s social fabric as well, but I’m not so interested in being— There’s a wonderful kind of art that comes from a chattiness that makes an art of superficiality—that I adore—but it’s not me. Even though I’m a hearty laugher and my poems can be quite funny, at root they’re about some bell that resounds deep inside me that’s serious.

from Rattle #32, Winter 2009

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