Submit your work, meet writers and drop the ads. Become a member
 
Nat Lipstadt Feb 2024
“I fear that many people are put off by poetry because they don’t know where to start. If I have any advice for them, it is this: find what you like.

Who is to say what guides this process?

In my own case, it has simply been the fact that certain phrases, poems, and figures have acted like flare-lights along the path of my own life. Sometimes you see a flicker in the darkness and know that it is saying something—often something of great importance—and you sense that you have to go toward it, to get near to it, all the time looking out for other lights.

My love of certain poets stems from a single phrase they wrote that hit me like a great freight train of truth.

At other times, I have been attracted to a poem or a poet because I am taken by that feeling of recognition that someone else has felt or thought exactly the way I did. As C.S. Lewis says, as a character in the film Shadowlands, “We read to know we’re not alone.”

Sometimes, we read poets because we want to be like them, or because they are arbiters of good taste, or have been through something we want to know about. Literature—poetry, in particular—offers us a way to become different from what we are or might have been otherwise.

In the end, I suppose the question is: What is the purpose of all this? Why is it worth making our heads into a well-furnished room?

I think it’s because what we have up here—in our heads—is the only thing that cannot be taken. So long as we have memory, we cannot be made into automatons by man or machine…”

Which brings me back to Shakespeare.

The Tempest is the last play Shakespeare wrote on his own. And because of that—and because we know so little about his life that we always look for clues in his work—a lot of autobiography has always been read into the play.

It is about a magician, Prospero, at the end of his magical days. At the end of the play, he promises to drown his magic book and break his staff. It is impossible not to read a certain amount of biography into this, Shakespeare’s farewell to the stage.

Every now and then, somebody comes up with a new theory about Shakespeare. All have been heard before—for example, the vivid description of the sea in The Tempest indicates Shakespeare must have spent time as a sailor.

My response to this? In that case, Shakespeare must also have been a Roman emperor, several English and Scottish kings, a Danish prince, a shepherd boy, a teenage girl in love, a murderer, and almost every other person who ever lived. It is a reductive argument, because it forgets that in the realm of the imagination, you can be all things without actually being them.

And, in any case, at the end, it all disappears, falls apart, and comes together again somewhere else.

This speech, by Prospero, in the fourth act of The Tempest, is the finest farewell of any I know, and one I hope to keep in my own head for many years to come.

**Our revels now are ended. These our actors,

As I foretold you, were all spirits and

Are melted into air, into thin air:

And, like the baseless fabric of this vision,

The cloud-capp’d towers, the gorgeous palaces,

The solemn temples, the great globe itself,

Yea, all which it inherit, shall dissolve

And, like this insubstantial pageant faded,

Leave not a rack behind. We are such stuff

As dreams are made on, and our little life

Is rounded with a sleep
excerpt from
https://www.thefp.com/p/a-second-year-with-douglas-murray?utm_source=post-email-title&publication_id=260347&post_id=141539442&utm_campaign=email-post-title&isFreemail=false&r=1njhw&triedRedirect=true&utm_medium=emailwaq
Nat Lipstadt Feb 2024
The Level of Uncertainty, This Yellow Star

“Even though I’m OK right now,
there’s a sense it could all go
away in a second.”  

<>
foreboding,
a disease well known to me,
not “as if,” but in fact
been Cain-marked at
birth to be wary, be watchful,
ever alert, never inert in the
realm of possibilities,
the king
in my universe’s galaxy is the
randomness of existence,

microsecond, milligram minuscule,
muscular instability that even if
unspoke,

danger!
it’s bespoke nature, customized
just for me, lurks, prepared to ****
me into a hard fall, loss of balance

yes,
I prepare with subtleties, minute
measures, discrete and indiscreet,
measured steps, slow-wide turns,
“hands on the railing down the stairs we go”
motto~attitudinal, antithesis~carefree,
for this birthmark was forehead installed
from birth, as a reminder that
reckless abandon
is a countervailing force,
and there are whales in the ocean
and whole coteries of fish in the sea,
waiting, wanting to swallow me whole,

lions across the ocean faraway continents
eager for a nibble of my tender heart,
round ****, and
thousands of people
who hate me and my kind, for no reason,
other than my birth mark,
this foreheaded
yellow star,
notifying all eyes, that I am to be dreaded,
feared, for reasons no matter,
just but unjustly

because, I am a Jew

who prays thrice
times daily for peace
for the whole world.

Sat Feb 10
8:35am
Nat Lipstadt Feb 2024
Francie Lynch gets it! (The Thin Red Line)

https://hellopoetry.com/francie-lynch/

“A poem is like a tickle,
it gives both joy and pain:
with blissful tears and tearful
giggles, you'll read that poem again.

A poem is exactly like
a damaged heart in
need of surgery:
a cut that heals,
a line that
leaves a
scar along your heart.”
F. L.
<~>

I,
now in possess
of said thin red line,
where they cut me
just so, opened
stem to stern
for a rethreading repair, a repaving
of the highways & byways of
my little blue engine that
almost but couldn’t quite could but thought…
b e l i e v i n g
it could eke by for a little longer

new observable routine,
first item of my daily rising
now includes a pre-diurnal poetic
extraction~*******~ejection,
an intro~introspection
of an
introductory, petite reflexive
contemplative
reflection
of life’s mysteries,
like enjoying that
first bang of eye~opening conscious breath and a
disruptive need to spill
a few verbal beans before the
daily dead~lines of to do’s
strangle me into oblivion

a morning dispatched
by the poet paperboy
on his cardio bicycle

with
tearful eyes,
and many mirthful
gaggles of
giggles

yep,
a tickle
too,
no
extra

charge✅
  Feb 2024 Nat Lipstadt
Anais Vionet
Saint Tropez is a summer town.
Smaller than it ought to be, really.
Like when you realize the French quarter,
in New Orleans, is just three blocks wide and long.

In the fall, there’s a feeling of disuse in Saint Tropez.
A turquoise bike leans haggard against a stone pine,
and summer leaves gather in gutters like trash.

Your appearance in a bar is treated like a surprise.
The wait staff gathers, like they might take your picture
and not your order - one brings napkins another the menu.

Summer memories are indistinct now, from disuse.
You aren’t sedated by sunlight and warm ocean airs.

Was summer some French, romantic, cinematic fantasy,
like "La Belle et la Bête" or "And God Created Woman"?
Or was it deliciously bright, seductive and real.

You find yourself saying, “In the summer, when the thyme,
lavender, rosemary, citrus and jasmine bloom, the aromas
are strong, actually physical, like going into an Ulta store,
where a thousand delicate perfumes vie for attention.”

But it’s like describing ghosts or deserts under glass.
You search for the words, like a poet or an actress, unable
to remember her lines - lines that would make it real,
invoke it, precious and immediate - like a spell.

The Saint Tropez of summer.
BLT Marriam Webster word of the day challenge: Haggard: tired, disheveled and abandoned
  Feb 2024 Nat Lipstadt
brandychanning
The Pleated Skirt  by Brandy Channing


It was in San Fran,
a destination chosen for
its variety of vicarious distractions,
romance was in the ebb stage
of ebb & flow, and there was
a sufficiency of distraction there,
that my mind
could be there,
in actuality,
in the present,
in the moment,
accounted for,
and the cancer of
rooted sadness,
that wastrel feeling,
was temporal boxed,
in my traveling attic.

On a cable car,
of which
the hills, insisted,
when the
lactic acid, persisted,
be re~viewed as an actual
conveyance methodology.

A-man got on,
sitting
near enough, but not
invasively too near,
and began a
study of me;
perhaps an exercise
in memorization
for a sculpture or a painting,
that would be shown,
in a gallery quaint,
nearby in Benicia,
and destined to be
displayed (dis~splayed?)
near a picture window in a
big old home overlooking
the North Bay, as the
She~Muse mused amusedly.

Or it was just another
inspection by “a man,”
common enough that
it was noticed and noted,
but attended to with a
practiced nonchalance,
which is a French word,
meaning nonchalance.

Ah! descending near the Wharf,
He~too, as he was now labeled,
stored and forgettably tabled,
He~too descended as well.

A meandering into familiarity,
of ancient memories of smells,
of clam chowder,
gulls and sea lions
the inhabitants of Pier 39,
all traced my face with
a grimacing smile,
for sometimes one lives
in a state of duality.

But a voice from behind,
gently inquired if permission
was grantable to recite a poem,
yes, directed to me,
yes, from He~too,
who, awkwardly shifted
his stance from side to side,
as if performing a
pantomime dance routine,
while waiting for
my pithy or pissy,
but always well considered
R.S.V.P.,
which is four french words(!),
meaning, “sure, why not, try me”).

Alas this Techi-he
as he was subsequently
re and de-nominated,
recited a variant of
roses are red etc,,
but concluded with
“your pleated skirt.”

(Roses are red, violets are blue,
when I observed your pleated skirt,
my heart pleaded with me, DO NOT!
let this woman ever escape your purview)

Now this navy medium wooly weight
(always chilled in SF)
somewhat too short skirt,
was a hand-me-down
from my mother (mom!)
who in a prior decade,
dressed like everybody else,
but with a panache,
(yes, a French word meaning panache)
that declaimed and declared,
“I do it my way”
and was in truth,
a fav of mine when
accented with dark tights
and preppy but comfortable
matching navy penny loafers
(mais non! pas de béret ridicule).

By now, you know, I know,
how to deal with men, whose
onslaughts are like the beaches
of Normandy, littered with death &
destruction from my hot herbal tea,
heated by rapid fire of my
machine gun fire,
my bullets of verbosity
from an old, original ***,
used by my grandfather.

But this reference to my pleated skirt,
flattering me when accompanied
with a beautiful French blouse,
sunglasses, and my heart and hair
openly parted down the middle
in a nod
to Haight~Ashbury
hippie history,
was off kilter,
or as Techi-he would later
joke that I was off-kilted (a pleated skirt),
and taken prisoner, a POW, which
under the rules of the Geneva Convention,
would be guaranteed all the necessities
of a good loving.

We are California Commuters,
me in LA, he in SF,
an unlikely combination,
he and me,
of milieux, personality,
yet not dissimilar:
harmonized when
he writes code snippets
on diner napkins, and
I,
snippets of poems
on diner napkins,,
he clears my laptop’s cache,
I clear his heart and vision,
a blending of

vive la différence!


and we see each other often,
as in as often as we can,
we vacation in the South,
of France, where he learns
of Impressionism, and a
different sea coastal ocean
environment.

I, learn from him,
his remarkable human fondue,
of intensity and concentration,
which melts into gentility and
a softness natural that steals my
heart, accompanied by the ridiculous
rhymes he passes me beneath the table,
notes toujours,
always perfect
for that moment,
like my pleated skirt

*(which now resides in his closet,
lest
its magic work again, thus,
kept safe by him, in a wardrobe,
to which he has locked and keyed,
and is worn upon request, my bequest,
it, a whirling twirling dervish of a poem enshrined,
a wearable honoring
our commencement,
our commitment,
our pleated,
plaited hearts.)
Nat Lipstadt Feb 2024
I suppose I will never lead the ordered life my father led.
And I’ll never live in the kind of house he lived in, with its rituals,
its dignity, the smell of polish.

Leonard Cohen

<>
the orderly of an individual life,
guided by the guardrails of family life,
superimposed upon it by a calendar of religion,
that layers into you with a cyclicality of communal ritual,
that rules, guides, tides and hides you subliminally, the individual,
in ways that forever alters how one comprehends the meaning of
belonging

the oven~heated, banging smells of the kitchen,
the hubbub, frantic sounds of a Sabbath eve prepping,
vacuuming house cleansing, far more than just a cleaning,
the young boys in their jackets, white shirts, for Friday night
candle lighting, the girls in Sabbath frocks, assisting Mother,
but by
Saturday morning sermon time
those boy’s shirts
were always untucked, sweaty and always less white,
from running around outside synagogue from playing Ringolevio,
for which you were justly critiqued by a mother’s glare-stare

this play-within-a-play poem,
played out in homes nearby,
for community was very defined by geography,
and the candles of Sabbath oft visible in every home as
Fathers & sons returned home from Friday Night services
where the Sabbath’s peace was welcomed like
a new bride.

but the knowledge that this scenario was occurring in
homes around the world in almost identical custom,
lent a larger perspective to even the youngest, of a
belonging

As for me, I passed on that life,
not as well as it was given to me,
but as best I could, or honestly, desired,
but because I the individual inherited these
ways, words, knowledge and sensations and deemed
failing to transmit would be a grievous denial of a heritage
were I to not gift them this order,
the dignity of these rituals,
the pungent smell of a polished home,
a life of intuiting

belonging,
be longing.
some of you know that our paths nearly crossed
by virtue of the intersecting diagrams of the circle
of three degrees of separation, and our similarity of
upbringing  overlapped in ways that molded instant
recognition of our commonality and community…I
saw both the house and the factory, when visiting
Montreal in the 80’s

“Whenever I blow into Montreal, I manage to take a look at the old house. It’s that large Tudor-style at the bottom of Belmont Avenue, right beside the park. It looks the same. Maybe the elms on the front lawn are taller, but they were always monumental to me. I wouldn’t hold on to the place or the factory and properties that went with it.” Leonard Cohen
Next page