Bridging the divide between ‘Practitioner’ and ‘Academic’, 15th January 2016
I am not a painter, I am a poet.
Why? I think I would rather be
a painter, but I am not. Well,
for instance, Mike Goldberg
is starting a painting. I drop in.
"Sit down and have a drink" he
says. I drink; we drink. I look
up. "You have SARDINES in it."
"Yes, it needed something there."
"Oh." I go and the days go by
and I drop in again. The painting
is going on, and I go, and the days
go by. I drop in. The painting is
finished. "Where's SARDINES?"
All that's left is just
letters, "It was too much," Mike says.
But me? One day I am thinking of
acolor: orange. I write a line
about orange. Pretty soon it is a
whole page of words, not lines.
Then another page. There should be
so much more, not of orange, of
words, of how terrible orange is
and life. Days go by. It is even in
prose, I am a real poet. My poem
is finished and I haven't mentioned
orange yet. It's twelve poems, I call
it ORANGES. And one day in a gallery
I see Mike's painting, called SARDINES.
Frank O’Hara, “Why I am Not A Painter” (1957)
…
I say
my typewriter sticks in the wet.
I have been using the same ribbon
over and over and over again.
Yes, we both agree I could use
a new ribbon. But it's the poverty
the poverty of my imagination, we agree.
I lack imagination you say.
No. I lack language.
The language to clarify
my resistance to the literate.
Words are a war to me.
They threaten my family.
To gain the word to describe the loss,
I risk losing everything.
I may create a monster,
the word's length and body
swelling up colorful and thrilling
looming over my mother, characterized.
Her voice in the distance
unintelligible illiterate.
These are the monster's words.
…
Understand.
My family is poor.
Poor. I can’t afford
a new ribbon. The risk
of this one
is enough
to keep me moving
through it, accountable.
The repetition, like my mother’s stories retold,
each time reveals more particulars
gains more familiarity.
You can’t get me in your car so fast.
…
Cherríe Moraga from “It’s the Poverty” (1983)
…
Anyway that’s enough kissin’ my own arse
Back to the more important task of being so shower
I got half the hood screaming “KNOWLEDGE IS POWER”
And I ain’t saying that will change rap
But I do know this for a fact
Right now there’s a yout’ on your block
With his hand on his cock and his face screwed up
Swear he don’t care, don’t give a fuck
That he won’t let nobody call his bluff
But the words go in
Open up your chakra
Because once that’s happened there’s no going back
Once you start to see what is really happening
Who the enemy you should be attackin’ is
So READ, READ, READ!
Stuck on the block, READ, READ!
Sittin’ in the box, READ, READ!
Don’t let them say what you can achieve
Cos when people are enslaved
One of the first things they do is stop them reading
Cos’ it is well understood that intelligent people will take their freedom
Cos’ if we knew our power we would understand that we can’t be held down
If we knew our power, we would not elevate not one of these clowns
If we knew our power, we wouldn’t get arrogant when we get two pennies
If we knew our power, we would see what everybody sees, that we’re rich already!
But never mind MCs go run for your mummy
I’m hungry, I run for my tummy
That’s enough, back to worshipping money
I’m off, back to the study!
Akala, from “Fire In The Booth” (2012)
From Brooklyn, over the Brooklyn Bridge, on this fine morning,
please come flying.
In a cloud of fiery pale chemicals,
please come flying,
to the rapid rolling of thousands of small blue drums
descending out of the mackerel sky
over the glittering grandstand of harbor-water,
please come flying.
Whistles, pennants and smoke are blowing. The ships
aresignaling cordially with multitudes of flags
rising and falling like birds all over the harbor.
Enter: two rivers, gracefully bearing
countless little pellucid jellies
in cut-glass epergnes dragging with silver chains.
The flight is safe; the weather is all arranged.
The waves are running in verses this fine morning.
Please come flying.
…
For whom the grim museums will behave
like courteous male bower-birds,
for whom the agreeable lions lie in wait
on the steps of the Public Library,
eager to rise and follow through the doors
up into the reading rooms,
please come flying.
We can sit down and weep; we can go shopping,
or play at a game of constantly being wrong
with a priceless set of vocabularies,
or we can bravely deplore, but please
please come flying.
With dynasties of negative constructions
darkening and dying around you,
with grammar that suddenly turns and shines
like flocks of sandpipers flying,
please come flying.
Come like a light in the white mackerel sky,
come like a daytime comet
with a long unnebulous train of words,
from Brooklyn, over the Brooklyn Bridge, on this fine morning,
please come flying.
Elizabeth Bishop, from “Invitation to Miss Marianne Moore” (1983)