Postmodernist Poems

Table of Contents:

Frank O’ Hara, “On Personism” (essay)

“On Rachmaninoff’s Birthday,”

John Ashbery, “Melodic trains”

“Ode to Bill”

Jane Miller, Two poems

Barbara Guest, “Two Poems”

Lynn Hejinian, poems

Marjorie Welish, poems

Michael Burkard, poems

Forest Gander, Poems

James tate, poems

Joe Wenderoth, poems

Dean Young, “One Story”

Add Michael Palmer

Bridget


Frank O’Hara PERSONISM: A MANIFESTO

Everything is in the poems, but at the risk of sounding like the poor wealthy man’s Allen Ginsberg I will write to you because I just heard that one of my fellow poets thinks that a poem of mine that can’t be got at one reading is because I was confused too. Now, come on. I don’t believe in god, so I don’t have to make elaborately sounded structures. I hate Vachel Lindsay, always have; I don’t even like rhythm, assonance, all that stuff. You just go on your nerve. If someone’s chasing you down the street with a knife you just run, you don’t turn around and shout, “Give it up! I was a track star for Mineola Prep.”

That’s for the writing poems part. As for their reception, suppose you’re in love and someone’s mistreating (mal aimé) you, you don’t say, “Hey, you can’t hurt me this way, I care!” you just let all the different bodies fall where they may, and they always do may after a few months. But that’s not why you fell in love in the first place, just to hang onto life, so you have to take your chances and try to avoid being logical. Pain always produces logic, which is very bad for you.

I’m not saying that I don’t have practically the most lofty ideas of anyone writing today, but what difference does that make? They’re just ideas. The only good thing about it is that when I get lofty enough I’ve stopped thinking and that’s when refreshment arrives.

But how can you really care if anybody gets it, or gets what it means, or if it improves them. Improves them for what? For death? Why hurry them along? Two many poets act like a middle-aged mother trying to get her kids to eat too much cooked meat, and potatoes with drippings (tears). I don’t give a damn whether they eat or not. Forced feeding leads to excessive thinness (effete). Nobody should experience anything they don’t need to, if they don’t need poetry bully for them. I like the movies too. And after all, only Whitman and Crane and Williams, of the American poets, are better than the movies. As for measure and other technical apparatus, that’s just common sense: if you’re going to buy a pair of pants you want them to be tight enough so everyone will want to go to bed with you. There’s nothing metaphysical about it. Unless, of course, you flatter yourself into thinking that what you’re experiencing is “yearning.”

Abstraction in poetry, which Allen [Ginsberg] recently commented on in It Is, is intriguing. I think it appears mostly in the minute particulars where decision is necessary. Abstraction (in poetry, not in painting) involves personal removal by the poet. For instance, the decision involved in the choice between “the nostalgia of the infinite” and “the nostalgia for the infinite” defines an attitude towards degree of abstraction. The nostalgia of the infinite representing the greater degree of abstraction, removal, and negative capability (as in Keats and Mallarmé). Personisms, a movement which I recently founded and which nobody knows about, interests me a great deal, being so totally opposed to this kind of abstract removal that it is verging on a true abstraction for the first time, really, in the history of poetry. Personism is to Wallace Stevens what la poésie pure was to Béranger. Personism has nothing to do with philosophy, it’s all art. It does not have to do with personality or intimacy, far from it! But to give you a vague idea, one of its minimal aspects is to address itself to one person (other than the poet himself), thus evoking overtones of love without destroying love’s life—giving vulgarity, and sustaining the poet’s feelings towards the poem while preventing love from distracting him into feeling about the person. That’s part of Personism. It was founded by me after lunch with LeRoi Jones on August 27, 1959, a day in which I was in love with someone (not Roi, by the way, a blond). I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It’s a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified. The poem is at last between two persons instead of two pages. In all modesty, I confess that it may be the death of literature as we know it. While I have certain regrets, I am still glad I got there before Alain Robbe-Grillet did. Poetry being quicker and surer than prose, it is only just that poetry finish literature off. For a time people thought that Artaud was going to accomplish this, but actually, for all their magnificence, his polemical writings are not more outside literature than Bear Mountain is outside New York State. His relation is no more astounding than Debuffet’s to painting.

What can we expect of Personism? (This is getting good, isn’t it?) Everything but we won’t get it. It is too new, too vital a movement to promise anything. But it, like Africa, is on the way. The recent propagandists for technique on the one hand, and for content on the other, had better watch out.

September 3, 1959

Frank O' Hara, from SELECTED POEMS

"On Rachmaninoff's Birthday"

Quick! a last poem before I go

off my rocker. Oh Rachmaninoff!

Onset, Massachusetts. Is it the fig-newton

playing the horn? Thundering windows

of hell, will your tubes ever break

into powder? Oh my palace of oranges,

junk shop, staples, umber, basalt,

I'm a child again when I was really

miserable, a grope pizzicato. My pocket

of rhinestone, yoyo, carpenter's pencil,

amethyst, hypo, campaign button,

is the room full of smoke? Shit

on the soup, let it burn. So it's back.

You'll never be mentally sober.

John Ashbery, “ODE TO BILL”

Some things we do take up a lot more time

And are considered a fruitful, natural thing to do.

I am coming out of one way to behave

Into a plowed cornfield. On my left, gulls,

On an inland vacation. They seem to mind the way I write.

Or, to take another example: last month

I vowed to write more. What is writing?

Well, in my case, it's getting down on paper

Not thoughts, exactly, but ideas, maybe:

Ideas about thoughts. Thoughts is too grand a word.

Ideas is better, though not exactly what I mean.

Someday I'll explain. Not today though.

I feel as though someone had made me a vest

Which I was wearing out of doors into the countryside

Out of loyalty to the person although

There is no one to see, except me

With my inner vision of what I look like.

The wearing is both a duty and a pleasure

Because it absorbs me, absorbs me too much.

One horse stands out irregularly against

The land over there. And am I receiving

This vision? Is it mine, or do I already owe it

For other visions, unnoticed and unrecorded

On the great, relaxed curve of time.

All the forgotten springs, dropped pebbles,

Songs once heard that the passed out of light

Into everyday oblivion? He moves away slowly,

Looks up and pumps the sky, a lingering

Question. Him too we can sacrifice

To the end, progress, for we must, we must be moving on.

“MELODIC TRAINS”

A little girl with scarlet enameled fingernails

Asks me what time it is—evidently that's a toy wristwatch

She's wearing, for fun. And it is fun to wear other

Odd things, like this briar pipe and tweed coat

Like date-colored sierras with the lines of seams

Sketched in and plunging now and then into unfathomable

Valleys that can't be deduced by the shape of the person

Sitting inside it—me, and just as our way is flat across

Dales and gulches, as though our train were a pencil

Guided by a ruler held against a photomural of the Alps

We both come to see distance as something unofficial

And impersonal yet not without its curious justification

Like the time of a stopped watch—right twice a day.

Only the wait in stations is vague and

Dimensionless, like oneself. How do they decide how much

Time to spend in each? One beings to suspect there's no

Rule or that it's applied haphazardly.

Sadness of the faces of children on the platform,

Concern of the grownups for connections, for the chances

Of getting a taxi, since these have no timetable.

You get one if you can find one though in principle

You can always find one, but the segment of chance

In the circle of certainty is what gives these leaning

Tower of Pisa figures their aspect of dogged

Impatience, banking forward into the wind.

In short any stop before the final one creates

Clouds of anxiety, of sad, regretful impatience

With ourselves, our lives, the way we have been dealing

With other people up until now. Why couldn't

We have been more considerate? These figures leaving

The platform or waiting to board the train are my brothers

In a way that really wants to tell me whey there is so little

Panic and disorder in the world, and so much unhappiness.

If I were to get down now to stretch, take a few steps

In the wearying and world-weary clouds of steam like great

White apples, might I just through proximity and aping

Of postures and attitudes communicate this concern of mine

To them? That their jagged attitudes correspond to mine,

That their beefing strikes answering silver bells within

My own chest, and that I know, as they do, how the last

Stop is the most anxious one of all, though it means

Getting home at last, to the pleasures and dissatisfactions of home?

It's as though a visible chorus called up the different

Stages of the journey, singing about them and being them:

Not the people in the station, not the child opposite me

With currant fingernails, but the windows, seen through,

Reflecting imperfectly, ruthlessly splitting open the bluish

Vague landscape like a zipper. Each voice has its own

Descending scale to put one in one's place at every stage;

One need never not know hwere one is

Unless one give up listening, sleeping, approaching a small

Western town that is nothing but a windmill. Then

The great fury of the end can drop as the solo

Voices tell about it, wreathing it somehow with an aura

Of good fortune and colossal welcomes from the mayor and

Citizens' committees tossing their hats into the air.

To hear them singing you'd think it had already happened

And we had focused back on the furniture of the air.

JANE MILLER, “Sycamore Mall” from AMERICAN ODALISQUE

Coppola's Cotton Club starts at Campus Two Cinema Saturday 6:45 mall time.

The Negroes in the film are played by blacks,

playing opposite the tennis shop, tobacconist, lingerie & antennae sales,

a glass-cased elevator & automatic bank teller.

Because this is a strangeness tendered in others,

a display of the humiliated

& recast human being, a thing Michelangelo transcended by marble

in David with its over-sized right hand,

because this is a tenderness strange in others,

I dine formally in a towel with day-lilies & hydrangeas on the table,

fresh raspberries & roses in their second bloom,

then sympathetically go out on the town.

Symptomatically it is as if I am approaching the Doge's Palace in Venice

& the piazza is covered with ice.

I exit my hotel on the Grand Canal, Paganelli's,

& slide arm in arm with my lover.

It was right to act back then, in summer, as if I were living

a love story that would be simple, with its curious

nocturnal glow, not unlike the mall hybrid light,

where like a single thought there persisted

an electronic chant on the Basilica the choir repeats a benediction.

No one ever touches himself in public

because we've all rubbed off on one another, Our Lord, so much we're invisible.

That is what has become of the tree for which Our Mall received its name,

with hope that it won't be the end of the world of we act out

of our best mood, surprisingly delighted original sex

without climax, a gift reserved for the end of the century

for those who still live by the spirit

of an act, on a street prepped like a movie set.

It was right to act back then, & to trust the movement

of the affair to the relationship

& insist on perfection. It'll be a while

before we are hoisted & joined as characters on a screen in sepia tone

for a theater inside a mall under the influence of temperature control.

Painfully one day we wake & haven't the right

clothes for Venice. It has snowed as it did, we are told, once a lifetime

ago; the full evening moon floods the piazza & in the morning

workers haul benches for the tourists to pass over.

A simple pear from a painting, or the marble hair of the David,

bandages art places over our eyes,

survive in Renaissance books next to the jog & diet shelf.

Michelangelo & Giotto appear naked to the touch,

holier because no one is fully conscious not ever able

to forget anything under the false light of the dome,