Late Picasso

In today's New York Times, an intriguing look at Picasso's end of life paintings.

Another draft

Temptation,
after Chagall’s Temptation (1912)

My God, you know, how temptation sits
  in the belly of the world,  red fruit, round, 
  already bitten.  

You know it is not all that matters. Small, hooved creatures,
 tiny birds, Eve’s several glances, and the canopies 
  of  red and blue leaves matter as well.

The real fall will be to believe in Pablo.
 Apollinaire will love you, your round house and the herring brine
  on your father's hands.

Bella loves you, even as you grieve for the Shtetl, for the pale Christ.
  
I understand, my brother, the desire to pare a body 
 into something that will serve beauty.

You understand, my brother, how the world 
 revolves around the edges of the world.

Let the others  eat their fill of square pears on triangular tables,
 suckle at the circles and the cones.

I want to eat, together, whatever we’ve been given.
 The moon behind the garden will be green and will disappear quite soon.

I want, as well, to thank you for this: I woke today  
 and was surprised, like you, to see that I am still alive.

A couple of notes on process in regards to this poem.

1) Earlier this summer, I read Jonathan Wilson's biography of Marc Chagall. Wording of some lines, as well as some of the context of 1912 in Chagall's world have likely been stolen from this good work.

2) Apollinaire wrote these lines for Chagall: "your round house where a smoked herring swims in circles . . . a man in the sky / a calf peers out of his mother's belly" (See Wilson, p. 51).

3) "Let the others eat..." is an adaptation and extension of Chagall's own comment about Cubism: "Let them eat their fill of square pears and triangular tables." He also announced, later, that as Europe was going to war he thought: "Picasso, Cubism is done for!" Picasso often said disdainful things about Chagall, though the two were able to have a semblance of companionship at points in their lives.

30 Ekphrastics in 30 Days

It's National Poetry Writing Month (NaPoWriMo), among other things. I will write an ekphrastic a day for the next 30 days.




April 90th

Scuttled in the wake of Pablo’s Gertrude,
awakened by the turn and term of head,
I head into the April air construed
by 90 airs of Bach strewn through my head.
Thrown hard against the arm chair’s broken arm,
she breaks her brow and plays an April Fool
and fools Picasso like a Harlequin,
and likens then herself to paint. His tools
of eye and self and paint and eye and self
she eyes herself, her velvet coat, her skirt.
He coats her in a gown of browns. She tells
me, Leo, grown and groan and sounds of hurt
sound palatable to a posing girl.
One palette, brother, tints and soils the world.