PRELUDE & FUGUE 29/

such a beautifully speckled trout
balancing on its head

*   *   *

n June
swirling
a long fish
a fish as long as the boy

a boy balancing a large fish on his head
in June swirling a long fish

a fish as long as the boy
a boy balancing a large fish on his head in June
swirling

a long fish as long as the boy
balancing a large fish on his head

red, yellow, blue, and green
under a decorative fish such a beautifully
speckled trout of a man running
back with quahogs and a tan Beyond Frog Hollow
tours halibut? red, yellow, blue, and green
man running tours under a decorative
fish back with quahogs and a tan
halibut? such a beautifully speckled trout
Beyond Frog Hollow red, yellow, blue, and green
a man running tours of halibut?
I really do need to get to know fish:
how to identify them under a decorative
beautifully speckled trout
red, yellow, blue, and green back with quahogs
and a tan Beyond Frog Hollow man runs
tours under decorative quahogs and a tan halibut or
such beautifully speckled trout Beyond Frog Hollow
I really do need to identify

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

PRELUDE & FUGUE 39/

a dingy moored on still water
dancing to Bix tonight
in front of the boulder and island

*   *   *

in front of the boulder and island
moored on still water
spires, houses, and the brick millyard
red between granite

a dingy in front of the boulder and island
moored on still water spires,
houses, and the brick millyard

red between granite
a dingy
in front of the boulder and island
moored on still water

spires, houses, and the brick millyard
red between granite
a dingy

dancing to Bix tonight in a blue lake
against mountains reflected foliage
along a green river moose drab
on a sandbar amid dancing to Bix
tonight foliage along a green river
in a blue lake against mountains moose
amid reflected sallow dancing tonight
foliage along a green river, Bix on a sandbar
looking down from the hill in blue
lake against mountains dancing
to Bix tonight moose dun foliage along
a green river sandbar in blue mountains
against moose reflections looking down the hill

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

HOT TUB ORACLE

I never intended to live there as long as I did, in the rented townhouse in what I sometimes called Yuppieville on the Mountain. But it must have suited me during that decade of waiting and searching, my anticipating true love and a long-desired relocation into permanence. Besides, it was convenient to the office. Admittedly, I enjoyed using the whirlpool in the clubhouse, soaking in the hot water while watching snowflakes drift down on the other side of the display windows; besides, at that time, the complex was still surrounded by woodlands. Lest it sound too idyllic, let me also acknowledge the dumpster parked beside my unit was frequently overflowing.

The poems in the resulting collection arise in that experience of transient proximity, which has become so much a part of the American landscape. The poems themselves are a kind of side street from other works I was drafting and revising during this time. Still, they make me examine what was right in front of me, all the same.

The series closes my collection, Rust and the Wound. To read the free ebook, click here.

PRELUDE & FUGUE 40/

three dogwood

two owls

a stone barn

*   *   *

stone fence
halfway up the valley of silos, tractor trailers
in mirrored sunrise

the symmetry, yee hah! of fence half stone
up the valley silos, tractor trailers, in the mirror
of sunrise coming home, yee hah!
setting forth along stone fence halfway up
the valley silos, tractor trailers,

in glittering yee hah! sunrise
so fleeting, unbalanced
between the gloved hands

a rosebud, three dogwood, two owls
a stone barn with blossoms that God
in front of a lone maple looks down

in a rosy stone barn fronting a lone dogwood
three maple blossoms look on two owls
that God, in a rousing talk in front of the lonely

fireworks of dogwood, owls, rosebud
blossoms, by God, around a stone barn

in front of a lone dogwood, what blossoms
into a conversation of two owls with God
looks up, looks down, looks around fireworks

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

PRELUDE & FUGUE 43/

green drapes
the first week of leaf

before the coral color of cooked lobster

*   *   *

coral (stars) (in a buds of) still birches
(with the wind) an ocean of northern lights

divers (however) shamefaced
avoid the first leaf
draping some fancy coral (yet)

northern lights drape the stilled birches
shamefaced, avoiding some fancy ocean
frogman first

(as) the coral northern lights
leaf out, draping

some still sand bar
beyond fancy birches
(shelters) a roseate sea nymph

(at noon) divers are shamed
facing (her) (the one as fleeting as the) first leaf
or northern lights avoiding (possession) (capture)

(at midnight) hanging still (as) birches, divers
in their shame, avoid facing
(their) fancies, first leafing
(in the) still briny reef

lobster footwork
coming clear

the still green lobster
works its feet in coming
to the clear green

the rippling lobster foot
works clearly
in the coming
green

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

PRELUDE & FUGUE 24/

there, in thick grass beside a slow stream
a Jersey heifer
wears telescope goggles to observe
a bragging rival

*   *   *

one with horns turns
to observe the huddled two Holsteins
wait for grain

three in thick grass beside a slow stream
four in a high meadow
four on a green slope, still

a Jersey heifer, a bragging rival with horns
turns to the huddled dairy cows awaiting
grain

three in thick grass beside a slow stream
four brown in a high meadow
along a green slope

a Jersey heifer wears telescope goggles
to observe a bragging rival
with long horns turns

the dairy cows, huddle, waiting
for grain beside a slow stream
and the high green meadow

the inertia, meanwhile, is extraordinary
waiting, huddling, bragging rival
mooing, with horns

turning to observe the inertia
meanwhile, a Jersey heifer wears telescope goggles
to stalk a bragging rival

four brown cattle in a high meadow
four on a green slope
two Holsteins waiting for grain

three in thick grass beside a slow stream
the inertia, meanwhile, is
brown, green, mooing, bragging

the wait for grain
huddled beside a slow stream mooing
in the inertia

meanwhile, a Jersey heifer wears telescope goggles
to observe another cow, its bragging
“meow”

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

REAL DEVELOPMENTS IN THE YEARS SINCE I DRAFTED THAT NOVEL

The years since I drafted Big Inca versus a New Pony Express Rider have brought significant, often dramatic, restoration and redevelopment to long neglected historic mills like the ones at the heart of my novel.

One impetus for the renewal appeared in a handful of towns in Maine, where credit-card giant MBNA transformed old mills into attractive call centers that in turn revitalized local economies. Even after being shut down in a later buyout, the benefits linger, and other developers had concrete models to follow.

Visionary entrepreneurs like the late Joseph Sawtelle here in New Hampshire as well as nonprofit agencies or local government-backed councils entered the picture, making mills in other towns emerge as small-business incubators or readily adaptable buildings for new arrivals, especially enterprises growing rapidly.

And, if the location’s right, they can attract artists of all stripes – painters, sculptors, printers, dancers, musicians, craftsmen, bakers and caterers – as an affordable alternative with natural light and high ceilings. (We love the annual studio tours and open houses in the mills in one nearby town.)

Sometimes the downtown locations lend themselves to conversion into residential condos as well. And then there are universities, health-care organizations, and museums that move in for convenience. (Well, one mill in downtown Manchester, New Hampshire, does have a helicopter pad on the roof.)

In other words, there are some fascinating case studies just about everywhere I turn.  But I still haven’t found any where the top of the tower is turned into a tiny penthouse, not the way Bill did at one point in the novel. I’m still quite fond of that touch.

PRELUDE & FUGUE 44/

no clouds except in the sky as yet
snow sits atop cones
in long-needled pine

*   *   *

in long-needled pine, a gray hill
beyond the snow-covered cones
becomes cloudy sky
yet pussy willows are molting

gray clouds of snowy pine
yet the sky covers cones atop long-needled pine
in the primrose sunrise the snow covers
pussy willows before you believe summer is coming

yes, beyond the snow-covered gray hill
wisps of clouds are melting
into pussy willows and pinecones

with the melting snow atop cones
the long-needled primrose sun sets
in a gray hill of pussy willows
you believe summer is coming

no clouds with the melting
wall atop gray cones

beyond the pussy-willow clouds
with the melting gray wall

birch beyond pussy willows, not clouds
melting the gray wall atop long-needled cones
beyond the pussy willows

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

POETRY SPRINGING FROM WITHIN ITSELF

Here’s a section from a collection of contemporary American sonnets I’ve done along the lines of those by the late and wonderful Ted Berrigan. It’s one of 60 from Braided Double-Cross.

~*~

As I said at the time …

In defining poetry, Berrigan’s concept of a windup toy serves well for me. How basic can I make it? (A single word? Maybe two?) As well as how extended or elaborate!

I still don’t like poetry that’s written as code, an intellectual equation of meaning.

Also, I prefer lines that are long enough to have something happen within each one.

I love when literature (or any art, for that matter) opens as a state of awareness – or fullest existence – which also expands into epiphanies of dancing or singing or perhaps, well, just imagine. Think twice about the chemically aided experiences – pinot, martini, pot? Yes, the Zone, when it graces. In a continuum, with differing specifics.

A set of skills and disciplined thought and, I would hope, tradition / culture. Not that every time I read a book or sit to write I’m there. Indeed, there may be good reasons we cannot dwell long in that Zone (Is it too isolated? Too exclusionary? Self-centered even when we find it occurring in Otherness?) …

A break, then. And then back to work.

~*~

CROSSING XXXVI

A green-streaked sentry flanked by thistles
on every town common is more explicit
than any boom box. Please, my darling, please
don’t let carnal memories expire between us.

I set forth at a disadvantage.
Ribbons of baby oil. Snaking Chinese dragons.
One flesh, lagoons. Trembling like the wind
in shrubs and flowers. You chained

criticism on my Academy of St. Martin
in the wallpaper, provoking blatant spice factory
peppers and cinnamon misrepresentations
of common logic, as if you were running for office.

Without proper camouflage, there’s nothing to repulse
destitution overtaking military-issue fortifications.

Poem copyright by Jnana Hodson
(originally appeared in the journal Plungelit)
For more, click here.

Poetry
Poetry

IN THE SHADOW OF THE BLACK SPREAD EAGLE ON LUDGATE HILL

Sometimes in exploring a niche of history, you come across an unexpected incidental detail that significantly alters your previous perception. For example, many of the earliest Quaker tracts and books bear the imprint of Giles Calvert, a publisher and bookseller at the Black Spread Eagle on Ludgate Hill near St. Paul Cathedral in London.

So extensive is his Quaker role that I’d assumed Calvert (1612-1663) was a member of the Society of Friends. For one thing, he was the elder brother of Martha Simmonds, an early Quaker convert and a central character in the notorious Bristol Controversy of 1656 that led to the blasphemy trial and conviction in Parliament of a leading Friends’ minister, James Nayler. The connection intensifies when you discover that two years earlier she had joined with Friends and the next year married Thomas Simmonds, who (according to one account) took over the shop from Calvert, by then the leading publisher of Quaker literature. And Martha Simmonds (1624-1665) was hardly shy about public protest and witness on behalf of her faith. She’s a controversial figure in her own right as she challenged much of the male leadership of the emerging Quaker movement.

One earlier connection I’d come across was Calvert’s role as publisher of Gerrard Winstanley’s True Leveller (or Digger) writings from 1648 to 1652, the year the Quaker works begin appearing. Winstanley was a radical religious and political thinker and leader, one who later had an influential role among Friends even if he drifted away for a while – his life leaves many questions and holes for the curious.

Still, it’s enough to strengthen Calvert’s position as a Quaker vanguard.

In my recent reading of Douglas Gwyn’s Seekers Found: Atonement in Early Quaker Experience (Pendle Hill Books, 2000), a broader portrait emerges.

Gwyn makes a critical connection that begins with Parliament’s attempt to impose Presbyterianism on the Church of England. “One factor that doomed the project to failure was the suspension of censorship of the press,” itself a parallel to the suspension of mandatory church attendance amid the waves of civil war. “Religious ideas that before 1642 had circulated only below the surface, if at all, now reeled off presses in exponentially expanding numbers. Propaganda pieces, ranging from one-sheet ‘broadsides’ to tomes hundreds of pages long were printed and sold at low cost.”

This had my mind leaping backward to the sense that many underground religious and spiritual streams had somehow survived in Britain for centuries, in part because of valiant efforts that kept the Roman Catholic Inquisition at bay. Queen Mother Joan of Kent’s influence at the trial of John Wycliffe and the Lollards in 1378 remains a pivotal moment in the history of freedom of religion. We were a long way from tolerance, but it was far superior to the terrors of the papal machine.

Gwyn, though, introduces Calvert at this later point beginning in 1642, “One of the most notorious publishers of dissenting literature … among the first publishers in England who was not also a printer.” (That, in itself, is a fascinating detail. I had assumed he handset the type himself, placed the paper and ink of the flat press, and collated and bound the pages. Instead, he served as a go-between.) “Over the course of his career,” which began in 1643, “he published more than 600 of the most radical tracts and books written in England during that period. … Calvert was questioned, fined, and imprisoned briefly on various occasions for his publishing activities, but he was never really silenced. Once the door was opened for a free press, it was never to be effectively closed again.”

It was enough to send me back to Christopher Hill’s classic The World Turned Upside Down (Penguin, 1975), where Calvert gets two mentions, the first for his Quaker service. In the other, a longer overview, Hill observes, “The printer Giles Calvert’s shop perhaps came the closest to uniting the radicals in spite of themselves – ‘that forge of the devil from whence so many blasphemous, lying scandalous pamphlets for many years past have spread over the land,'” as one critic put it. Hill then notes that A.L. Morton, the leading scholar on the Ranter movement, “stresses the importance of Calvert as a unifying force.” Hill has Calvert working as late as 1662 “still inciting the publication of seditious literature, and after his death in 1663 his widow continued his policy.” Unclear is whether Calvert was still with the Black Spread Eagle or working more independently; either way, he was a force who’s largely unknown today.

It’s heady stuff, of course. Here we have a champion in the history of freedom of the press and the circulation of revolutionary ideas itself. At the moment, Giles Calvert gets a single sentence as his Wikipedia entry – and that notes his publication of John Saltmarsh, another important influence on Quaker thought, as Gwyn delineates.

As a writer and editor, I am as fascinated by the idea of a bookstore that also showcases its own line of books and pamphlets as I am by the existence of a bold publisher of revolution, political, spiritual, or even literary. Think of City Lights Books in San Francisco in our own time, with its line of poetry from the Beat and Hippie years. No doubt there are many others over the centuries.

I wonder, too, about the bookstore itself. Was it more like a newsstand, with the latest blast hot-off-the-press as must-have material? (That has me thinking of record stores back in the Beatles era!) Think, too, of the audience hungry for the most recent release – in contrast to our surfeit of information today. What were the discussions like, too, in deciding whether to publish a piece or edit it or, perhaps, in gathering customers around a table to debate the merits of the most current issues? Who frequented the shop, for that matter?

Imagine, if you will, the movie version. I want the key characters to be ink-stained, for starters, and maybe tobacco smokers.

Actually, I’m beginning to wonder. Would this be more like a porn shop? At least before the Internet took over? Customers entering surreptitiously, hoping not to be seen? And then slip away again?

Well, Quaker was a term of derision. As well as one of scandal. Bear it as we may.