Ars poetica

It has been made a question, whether good poetry be derived from nature or from art. For my part, I can neither conceive what study can do without a rich [natural] vein, nor what rude genius can avail of itself: so much does the one require the assistance of the other, and so amicably do they conspire [to produce the same effect].

from Horace, Epistles, Book II, Ars Poetica

call for ekphrasis

The Mississippi Review is soliciting ekphrastic work for their Oct. issue.

Entering the work

Mennonite poet (and friend) Jean Janzen has a wonderful memoir/essay interspersed with poems published in the Spring 2008 issue of Mennonite Life. What I like about the poem below, among many things, is the way she weaves her mother's presence into a Titian altarpiece she sees in Venice. In the painting, she sees "the image of my mother in a studio family photograph in which she holds her first daughter in her lap. Here she was in a city threatened by floods, like her ancestry, 'alive' and glowing." Somehow, though, the poem doesn't make the painting just a Rorschach of her past, but sets up a real exchange, a dialogue with the painter and the viewer. Here's the poem:

My Mother in Venice

She had another life,
not only the vast expanse
of prairie, but this island
adrift and shimmering.

Here she is, in the Frari Church
holding the Child.
Centuries ago Bellini
saw her at the fish market

shivering in the rain,
brought her to the small
fire of his studio
and began brushing her round

face into glow, dressing her in blue silk-my mother
in this city of mirrors
where the centuries swirl

together, where she still holds
the Child, my Brother, where she doesn't hold me.

ROTHKO'S YELLOW

What I don't understand is the beauty.
The last attempts of the rain, my shoulders
aching from all afternoon with the ladders
and the hour with her. I watch the rainbow
until I have to focus so hard I seem
to create it. Thinking of her watching
this storm, wanting him. This lightning.
This glut in the gutters. Now only
the yellow left. Now the blue
seeped out. The purple gone. The red
gone. People downstairs playing Bach,
the quiet attenuated Bach. She must
have tried and tried. The holes drilled in.
The small man in the movie who looked
like laughter would kill him. The carnation
farmer who left snared birds for the woman
he loved. Who would hang himself after
stitching her ribbon to his chest.
What I don't understand is the beauty.
I remember the theatre in Berkeley where
we sat eating cucumbers, watching the colossal
faces played over with colossal loss.
I would get off early and meet her outside,
her hair always wet. All last night
I listened to the students walk by until 3,
only the drunk left, the rebuffed and
suddenly coupled. What did I almost
write down on the pad by my bed
that someone lowered me into my sleep? One morning
when she and I still lived together,
the pad said only, cotton. Cotton.
Sometimes it's horrible, the things said
outright. But nothing explains the beauty,
not weeping and shivering on that stone bench,
not kneeling by the basement drain.
Not remembering otherwise, that scarf she wore,
the early snow, her opening the door
in the bathing light. She must have tried
and tried. What I don't understand is the beauty.

--Dean Young from Beloved Infidel

The Curator

Here is the story, now, that I want to tell you.
Early one day, a dark December morning,
we came on three young soldiers waiting outside,
pacing and swinging their arms against the cold.
They told us this: in three homes far from here
all dreamed of one day coming to Leningrad
to see the Hermitage, as they supposed
every Soviet citizen dreamed of doing.
Now they had been sent to defend the city,
a turn of fortune the three could hardly believe.

I had to tell them there was nothing to see
but hundreds and hundreds of frames where the paintings had hung.

“Please, sir,” one of them said, “let us see them.”

And so we did. It didn’t seem any stranger
than all of us being here in the first place,
inside such a building, strolling in snow.

We led them around most of the major rooms,
what they could take the time for, wall by wall.
Now and then we stopped and tried to tell them
part of what they would see if they saw the paintings.
I told them how those colors would come together,
described a brushstroke here, a dollop there,
mentioned a model and why she seemed to pout
and why this painter got the roses wrong.


from Miller Williams' poem The Curator

Hey, John Keats

River Goddess, India, 8th-9th century, Berkeley Art Museum

They can knock off your nose
 lose your makara, your tortoise,
  but they cannot undo the curve of the Yamuna in your hips,

Or the globes of the world, two worlds
 that are your breasts, and the Ganges of beads 
  running between them.  

Your children are silent and moving with you.

Oh, John Keats, I am here to tell you,
 you should see what she keeps in her red sandstone urn.

Just released! (not ekphrasis, but music related)

Read more about the just released recording of the hymns from A Field of Voices.