Sunday, October 24, 2010

week 10 edited poem







 Fourth Draft after class comments


In the SoHo lobby 

White calla-lilies, perfectly maligned by the china
spit-polished, and a champagne fountain left in the closet.
The groom enters thinking of eggs and burnt coffee
and that night chill enough to frost blood born windows
or freeze a Bangkok Duck outside the Holy Basil.

Ten years ago, and we’re right back in that lobby,
corn-fed city dwellers with only one bag of bagels,
each warm, good-fruitful, and koshered with love.
humane, brandy-legged adolescence. What children,
with our cast-irons bit in two, starring, as one’s eye widens.

Viewing a carved marble studio wrought with gold lace,
we huddled in green corners like freshman. Afraid of
the scabs or moles and what appeared to be lost wealth.
And at the first acquired taste of scotch or, worse, Milwaukee,
We hailed taxi’s and rushed from the shrieking emblems
of  Hell's Hundred Acers and Frank Stella.
Reach the brown-step, reach the damned step.
Was I  (a normal) supposed to fear that swelling scene?
Or was I immune to that imagined fear, like metro-phobia
or lower east Manhattan zoning ordinances?

Distance, we know, is grand. Downstairs in the lobby,
two people are about to be, for life. She’s happily going over
her final Fates; he’s busily reciting the pledge
to himself never to forget how I walked around that lobby,
wondering why that particular texture, that specific slant of sun
lit a subject through shattered blinds. Maybe not shattered,
I got the name wrong, maybe shared, and, so, sleeping,
came many, many more. And these (the normals), forever changed.





In the SoHo lobby

White calla-lilies, perfectly maligned by the china
spit-polished, and a champagne fountain left unplugged.
The groom enters thinking of eggs and burnt coffee
and a night chill enough to frost blood shot windows
or freeze a Bangkok Duck outside the Holy Basil.

Ten years ago, and we’re right back in that lobby,
corn-fed city dwellers with only one bag of bagels,
each warm, good-fruitful, and koshered with love,
humane, brandy-legged adolescence, what children
with our cast iron bit in two, starring, as one’s eye widens.

In a carved marble studio wrought with gold lace,
we huddled in green corners like freshman.
And at the first taste of scotch or, worse, Milwaukee,

we hailed taxi’s and rushed from the shrieking emblems
of Hell's Hundred Acers and Frank Stella.
Reach the brown-step, reach the damned step.
Am I supposed to fear? And what? Not perfect,
consider it as a kind of fear, like metro-phobia
or lower east Manhattan zoning ordinances.

Distance, we know, is grand. Downstairs in the lobby,
two people are about to be, for life. She’s happily going over
her final Fates; he’s busily reciting the pledge
to himself never to forget how I walked around that lobby,
wondering why that particular texture , that specific slant of sun
through the shattered blinds. Maybe not shattered.
I got the name wrong and, so, sleeping, came many,
many more. And these forever.

3 comments:

  1. Jeff,

    Thanks for the comments on "Nero's Prosciutto." You have a real eye for details. I tend to overuse adjectives in compensation for lacking objects to add detail.

    As for comments on this draft, I find it most intriguing when you simplify the language. For example, "Ten years ago, and we’re right back in that lobby," and "we huddled in green corners like freshman." In contrast to the rich, detailed allusions, this simple language really shines. The tone with this language mimics the tone in the piece you brought to workshop. The tone for me is apathetic loss, and you do that with these little strips of just blunt language.

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  2. "And these forever," "Distance, we know, is grand." Like the other post, I really enjoy where you undercut some of the more charged passages with simple statements like this. There is a real balancing act going on, and it is largely successful in a Frank O'Hara kind of way. My only stumbling point lies in "humane, brandy-legged adolescence, what children
    with our cast iron bit in two, starring, as one’s eye widens" and that is really only because in so many commas it is hard to know what is being modified at that point.

    Also, you have given your speaker some hang-ups and real personality as well, personified by the phrase "at the first taste of scotch or, worse, Milwaukee." Even if you didn't mean to, you have created a character.

    A very tight piece, Jeff. Great stuff.

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  3. The draft seems to work quite well in the vein on specificity pertaining to what Michael says and I agree that Frank O'Hara comes to mind when reading this piece. There are a few interesting places that the draft could focus on in more depth. The question in stanza four, perhaps, could be worked with to enhance the specificity of this piece. What's at stake when you ask what is to fear? The image of fear seems baggy, yet I like how you seem to categorize and specify the type of fear in the next line. Perhaps you could then catalog what metro-phobia consists of?
    On another note, I like how you have ended the piece as it brings an unexpected twist on the wedding ceremony as the draft has the groom thinking of the speaker rather than his bride at hand, though the I wonder on the final line of the piece and its connection to the stanza as a whole.

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