Culturewatch

Poetry is Everyday Life

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This is a chapter from Blyth’s first book, Zen in English Literature and Oriental Classics.[1] 

…
From Aristotle down to Arnold it was considered that a great subject was necessary to the poet. Arnold says that the plot is everything. It is useless for the poet to

imagine that he has everything in his own power; that he can make an intrinsically inferior action equally delightful with a more excellent one by his treatment of it.

Wordsworth stands outside this tradition by instinct and by choice. He chooses the aged, the poor, the idiot, the vagrant, but does not endeavour to make them “delightful” at all.

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Blythe Spirits

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Excerpted from Kirkup’s introduction to The Genius of Haiku: readings from R. H. Blyth on poetry, life and Zen. Published by the British Haiku Society.

I first became aware of the works of Blyth in 1952 or 1953, when I held the Gregory Fellowship in Poetry at the University of Leeds. It was also a time when I when I was discovering Chinese and Japanese poetry and philosophy, and reading books on Zen Buddhism that were beginning to proliferate in those days, and to have a certain influence on the Beat poets of America. whom I barely knew, though I had heard of Ginsberg, Jack Kerouac and the City Lights poets. I was also reading the works of Daisetz Suzliki and Alan Watts, the gurus of the Beat Generation.

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Quarantine Me: I’m Old

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The road to Lisburn serpentines through rolling Pennsylvanian farm land.  At its near start, it anchors a capital bedroom community etched out of GI Bill housing built after the war, what a war.  At its far end, there isn’t much but a firehouse serving charity bbq chicken in the summer and a rope swing stretching out over the Yellow Breeches, also best in summer.  Green grasses bathed in the smell of clipped chlorophyll, young corn just breaking to sunlight, dips that drive you into the earth and then just as quickly rise up to give you the illusion of flight: to travel Lisburn Road is to experience freedom, the soul-freeing kind of freedom, where you scream in your head that it’s great to be alive. And you’re right.

Or, at least it used to be that way.

The famous line is that you can’t go home again.  That’s a lie, of course.  You can always get there if you have Waze or Google Maps.  If you look on one of those aps, Lisburn in all its glorious summer glow still lives.  It’s just that Lisburn Road is gone:  someone killed it with a rotary in the road’s rhythm.

Actually, two rotaries, one right after the other.

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Michael Buffer, Jimmy Lennon, Jr. – and Me!

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Before there was an airport in Philadelphia, planes used to land in Central Airport across the Delaware River in Camden, New Jersey. Weber’s Hof Brau restaurant was at the airport. They had outdoor fights there, too.

My father loved to tell about how he was at the fights at the airport one night and every time this one dude got hit with a good shot, his cup would fly out and the ref would call a halt while his corner men retrieved the reluctant cup and gathered around their warrior to reinstall it.

My one experience as a ring announcer took place at outdoor fights, too, and there was an “incident,” shall we say, at that show, too.

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Preface to the Korean Edition of “The Magna Carta Manifesto”

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This chapter from Peter Linebaugh’s Stop Thief: The Commons, Enclosures and Resistance opens with aristos’ charming spin on the human right to rest. But Linebaugh isn’t one to go on in defense of laziness. Near the end of this short piece, he invokes bookish Reds who once insisted a “Communist is a mere bluffer, if he has not worked over in his conscious­ness the whole inheritance of human knowledge.”[1] Linebaugh has surely put in work on that score. The fact that his essay is a preface to the Korean edition of one of his earlier books stands as a tribute to his worldliness. Linebaugh goes wide in this chapter (as ever) though he begins in bed…

Of the aristocratic and stylish Mitford sisters, Jessica provides us with the Lazy Interpretation of Magna Carta beloved by sluggards everywhere. As a lovely communist (two of her sisters were fascists) she was disowned by her family and fell from the social peaks of English aristocracy to the Dickensian depths of the Rotherhithe docks in London in 1939. Unable to pay the rent she and her husband lived in fear of the process-server who they avoided by going in disguises which the process server soon came to recognize. “Esmond had a theory that it was illegal and in some way a violation of Magna Carta to serve process on people in bed.”[1] So they stayed in bed all day and then all night, and again all the next day, and all the next night under the covers, before deciding to immigrate to America. (Tom Paine, too, thought that independ­ent America was a realization of Magna Carta).

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Double-Play: C. Liegh McInnes & Peter H. Wood on Baseball and Color Lines

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At the world’s fair of the 1900 Paris Exposition, W.E.B. Du Bois, Daniel Murray, and Thomas J. Calloway organized the Exhibit of American Negroes to represent the history, culture, and institutions of their people. (The Paris world fair was a celebration of ruling ideas of progress intended to uphold “achievements of the past century and propel development into the future.”) The Library of Congress online archive has collected the photographs, charts and other materials curated by Du Bois et al. Looking through the files, among the images of black laborers, students, mothers, organizers, homes and churches, a picture of Morris Brown College’s black baseball team resonated with a young African American man, a century on.[1] Du Bois, or perhaps Calloway, must’ve seen how this tableau of a true team evoked more than stats or won/lost records ever could…

Your editor sent Peter Wood this photo after reading how Jackie Robinson’s example helped propel Wood on his path to writing books like Black Majority and Near Andersonville. The photo also went to First contributor C. Liegh McInnis since he’s a baseball fan with deep feelings for the Negro Leagues as well as a certain distance on Jackie Robinson and the ideal of integration.

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Last Hour of Every Angel

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I

…If you were a goddess, Xylea said, what goddess would you be? She paused to think for a second. If you were a goddess, you’d be the goddess of beauty and illusion…
…That haunted me, for some reason. The reason was that my life had, without my noticing, been drained of reality, or the pretense to reality. I was a celibate, anhedonic whore (let’s say a depressed whore). Sex itself meant nothing to me, having become mere performance, empty enchantment. I fell in love with ghosts, or people who soon became ghosts, whose names I no longer remembered shortly afterwards.

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Sturdy New Acquisitions

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Forgive me if I’m committing the sin of self-promotion, but I’d like to add an annex to my piece last month about the MET’s class-focused New Acquisitions show. There’s a trio of music videos—with soundscapes evoking hoods all across the world—that could have added a contemporary flash to that MET show.

“Ghetto Phénomène” Houari’s Le Chant des Ra ta ta—with its bass pace, main string riff, and Houari’s amped but unvocodered voice—was a constant on my Marseille rap playlist. Yet I didn’t realize the song was more than just catchy until I watched the video.

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Invisible Republicanism (Redux): Greil Marcus’s Negro Problem (Circa 1998)

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I published the following piece in a tabloid issue of First in 1998 and then posted it at this website after Bob Dylan released Love and Theft in 2001.  I took it down once Greil Marcus became an occasional contributor to First. In the era of Substack, though, journos’ back pages find new readers and it seems timid rather than tactful to hide “I.R.” in a memory hole.

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Eye of the Hunter

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“The mind of this country, taught to aim at low objects, eats upon itself.” (Ralph Waldo Emerson)

I don’t want to argue with the American Scholar, but if you’re Hunter Harris — the wittiest millennial? — your obsessions are beyond objections…B.D.

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Liebe Macht Frei

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…I walked by the Sacramento River the day before my thirty-eighth birthday, along the train tracks to an old rusted truss bridge. It was the first time I’d been alone, I mean alone in physical space, in a long time. I’d spent the Christmas holidays with Harvey, who had an excruciating toothache and no health insurance, and with Amber, this trans girl Harvey had just started seeing. Harvey never complained about the toothache, though. They wandered around their bedroom trying on different outfits, showing off their possessions, infinite sentimental relics, displaying their favorite dick pics on their phone (especially the cum vids), making jokes and asking surreal philosophical questions, while Amber fawned over them, which annoyed Harvey, though they kind of liked it, too. Harvey wanted to be seen, to be loved for their capacity to be seen, for their mere appearing in this world, epiphanic ephemera, the brute autistic weirdness of their creature-existence, but they didn’t really like being complimented, compliments made them uneasy, always seemed silly if not outright suspicious, and they liked being romanticized even less, though they knew it was this resistance to romance in themselves that invited it from others.

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X Factor

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The author emailed this response to Leila Zalokar’s December 1 post, “Planet X,” under the heading, “Awesome.”

Starts with a bang! [couldn’t help myself]

And right off the bat, I can’t think of a word, but that melancholy, ironic, hopefulness(?)

…still, the desire to fuck / morning cigarettes…

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From the Foreword to E.P. Thompson’s “William Morris: Romantic to Revolutionary”

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What follows below comes from Peter Linebaugh’s Stop, Thief! The Commons, Enclosures and Resistance (PM Press, 2014). First of the Month will reprint pieces from Linebaugh’s collection of essays, which has been called a “Commonist Manifesto,” throughout 2024. The following text is an excerpt from a piece of Linebaugh’s that served as the foreword to a revised edition of E.P. Thompson’s biography of William Morris. (Thompson’s book was first published in 1955 — the year before his break with the Communist Party.) 

Thompson has been in the cultural conversation lately. (His huffy back-and-forth with Lesezk Kolakowski has been invoked here.)  Thompson may have always have been too full of himself. (Like most would-be vanguardists?) His duller certainties deserve skepticism. (I’m recalling just now Thompson’s dimness about a distinguished thing dear to Stuart Hall: “‘How can you be interested in Henry James?’ Edward Thompson once admonished me, with exasperation.”[1]) Thompson’s blankness about certain aspects of “high” intellection, though, deserve more than forbearance since it seems to have allowed him to focus on The Making of the English Working Class and his other histories from below.

Linebaugh has a near familial feeling for Thompson (who was his mentor), but he doesn’t do hagiography. He interrogates Thompson’s takes on Morris without being prosecutorial. Here he gets to what  Thompson missed in Morris’s essay “Under the Elm Tree” even as Thompson saluted Morris for… 

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High/Low Paris at the Dawn of the 20th C. (“New Acquisitions” at the Met)

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Last season, at the Met, a curator with Dickensian sensitivity to class matters organized a set of eleven Paris prints and watercolors linked to the Manet/Degas show. These pieces—stuck in that odd, tight corridor between the museum’s grand entrance and the European painting wing—were part of New Acquisitions in Context: Selections from the Department of Drawings and Prints. (The title wsn’t the only yawner, who’d stop for New Acq‘s silverware prototypes or “Design for Transeptal Altars”?) The Paris scenes, though, were a trip. So much for peintres celébrès down the hall, Marie-Louise-Pierre Vidal’s watercolors floated viewers into luxe-life while Edgar Chahine’s prints dragged them down and out.

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On “My Libraries”

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Renato Grigoli’s as usual right-on, witty “My Libraries: Finding a Third Place” (October 2023) sends me back in time to childhood visits at my working-class Peoria Public Library branch—the library card an important visa into feeling curious, smart, and grown up—taking books home to read under the summertime backyard pear tree or in winter bed, and on into high school there guided by our watchful nun librarian with permission also to amble—during free class time—to the nearby main public library, later wandering the stacks as an undergraduate at Trinity College, Hartford, getting into the habit of finding things I wasn’t looking for, like a year after 1974 college graduation while working in the basement Harvard Coop shipping room I wandered into Boston Public Library, discovering by chance Stefan Zweig’s Die Welt von Gestern (World of Yesterday), leading to a German course at Harvard Extension School!

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Three Lessons From Mama

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Over the years, I shared various ways in which my parents intentionally worked to develop me into a constructive person. Often, because my mother was the primary disciplinarian, she has gotten the short end of the stick because most of my stories about her involve being the enforcer of the law. Yet, Claudette was the drill sergeant who was determined to prepare her child for a war in which I was armed to wrestle with the ghostly demons who desired to manifest their supremacy in flesh and blood.

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2024: The Body Politic on Steroids

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[01-01-2024] In light of the upcoming election year, the U.S. Food and Drug Administration (FDA) has approved class-wide labeling changes for all prescription testosterone products, adding a new Warning and updating the Abuse and Dependence section to include new safety information from published literature and case reports regarding the risks associated with abuse and dependence of testosterone and other AAS.

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Appointment in Newark

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Brick City Grudge Match is a tough-sounding, gritty title for a boxing book, especially when the subtitle is Tony Zale and Rocky Graziano Battle in Newark, 1948.

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