I sit at the bar of life
Looking forward to happy hour
Another beer
A solicited romance
Something
Even a bowl of peanuts that never came
How I yearn for conversation
Warmth
I can only dream
Seated a few chairs away
Is a rainbow haired hillbilly
Backpacking possums
Gees
Can you imagine
He said he lives under
The outskirts of ****** land
He smiles
I smile
I catch a bee from behind
As the bartendress walk by
My eyes look at her behind
And catch honey
My claim to fame
Oh how I wish I were a bee
And had somebody
Like the rainbow haired hillbilly
That tends under the outskirts of ****** land
I look over at him
He's always smiling
Maybe it has something to do
With playing a fiddle and finding music, finding new paths
Goats and milk
And backpacking possums
Or maybe its sublime
Oh, how I wish I could smile
Feel warmth
Sunshine
And look into her peering eyes

Logan Robertson

7/16/18

The Island Moorea,
backpacking Tahiti,
In the heat, the sun,
The rhythm of my footfalls
crunching loose gravel road,
The swish of pack swaying
in conert to my measured pace.

Breeze pushing branches of Palm,
Ocean waves breaching shoreline long.
Island vehicles passing, occupant's laughing,
a man laboring under large pack, alone walking,
Who could have been freely riding,
Unthinkable to Island Folk,
in hot tropical places.

Some humble homes passed along the way.
Greetings exchanged with smiling faces there.
Not long afterward a new sound approaching,
crunching gravel, rolling up behind me.

A lovely young girl, perhaps nineteen,
long brown naked legs bike a peddling.
Hair jet black, long to her waist, wearing
a sarong, split up the side,
Shoulders bare and brown.
Dark eyes of wonder, sparkling of youth.
A radiant smile adorning a splendid face.

We went for a time at my even pace,
looking and smiling each in our place.
"Hello there," I said, she giggled, beamed
even bigger. Perfect teeth displayed.

"Why you walk?" She asked in heavily
accented puzzlement.

"To get to where I'm going". I replied
This response producing a pleasant laugh
from the girl. In which I too joined in.

"You go One Chicken?" She asked
I stopped then and turned to her.
"Where is One Chicken?" I questioned
with a grin.

She raised her graceful arm,
one finger pointing up the road.
"One Chicken there," she informed.

It was a store/bar, sort of place,
In the very midst of nowhere.
Indeed, more than one chicken roamed,
Many chickens did and a pig or two,
mingling free and doing their thing.

We entered out of the bright daylight,
into the deepest of darks,
Like in a movie theater, when arriving late.
Eyes adjusting slowly to what lay ahead.

A few Island Beers later,
I had acquired several new friends,
The girl my invitation to the party of
already happy people a little drunk on beer.
The Music was mostly of French persuasion,
With a bit of Bob Dylan thrown in.
The Beatles also had a tune or two.
The Liverpool beat resounding down Tahiti way.

Before the light did fail, I shouldered my pack
and walked some distance from Chickens and Pigs.
Found the beach, hung my Hammock for the night.
Built a small fire and opened a can of Spam delight.

She appeared again about ten,
looking beautiful in the new moonlight.
Newly washed hair, still damp and
smelling fresh of Lilacs,
Or some such aromatic scent.
We did not speak, no words were needed,

Made love on the sand, 'till the retreat of the
tide and sand ***** did come out, in their
eerie numbers, to eat what was at hand.
I suppose even us if we were still and let
them.

We retired then both to my hammock,
A pretty neat trick if you can swing it.
And we did.

She was so childlike and yet,
very much a woman grown.
There was no pretense shown,
no false inhibitions rendered.
These were not limitations of her culture.
people that respond to their emotional
impulses. An open and free spirited
people living passionately within each
minute shared.

It all felt more akin to a dream than real,
All around me there was beauty,
Loving and being loved without hurry,
Free of guilt or even a single expectation.
Living in that wondrous moment,
of uncomplicated human splendor.
Like some Garden of Eden surrender.
A real-life Gauguin painting.

In the morning, we swam naked in the sea,
frolicked like kids having a day at the beach.
Made love in the sand, I dozed in the sun.
Upon awaking she was gone.

I waited an hour or two, packed up my camp,
shouldered my load and returned to the road.
A few minutes later, again I heard the now
familiar crunch of rubber tires, rolling road
surface and there she was, a straw basket in
her Bike's basket, a huge smile on her
unforgettable, beautiful face.

We sat in a grove of trees, among birds singing,
in sight of the sea, upon a Palm log and ate fresh
bread and fruit. Drank strong black coffee
(French Roast I presume,) nibbling some
marvelous cheese.

We tried to talk, but she understood little of
what I tried to say, my French was nearly
nonexistent, only adding to confusions sake.

She leaned her head on my shoulder,
the way lovers do and tenderly held
my hand within her two,
As if not wanting to let go,
Those gestures said all there was to say,
And we savored each silent moment.

We parted there, she on blue, rusty bike
and me on "shanks mare",
Off in two different directions,
Each out into the depths of our own lives,
Gone just like that. . . And yet,
Indelible, never to be forgotten or replaced.

When backpacking, there are certain
rules that everyone knows like
take less than you can carry;
   you’ll pick up things as you go.
Be careful when hitchhiking;
   follow your gut instinct. Always.
Stick to your budget;
   you don’t wanna run dry in Kansas.

What no one actually tells you is:
   Don’t fall in love
      with a town or
      with a boy in a town.

Oops.

A boy who is settled and nestled in a town is dangerous.

The other roaming, free-loving boys are fine, because
   they understand and you understand
   that, like a Lynyrd Skynyrd song, your
   both freebirds who must be traveling on.
These boys are easy to love and set free.

Townies, on the other hand, are like rose-colored poison
which seeps into your every thought,
   but then you don’t really mind.

They show you that their quaint little town
doesn’t just look like magic.

   It is magic.

They show you that there’s something beautiful in
   greeting the mailman with
      “how’s the wife?”
   the charming town diner
      where the pie is county-famous
   the declaration of love on the water tower
      written in red spray paint.

The boy shows you how to fall in love with a town,
and in the town you fall in love with the boy.


They should start printing warning labels on backpacks:
      WARNING: don’t fall in love with a boy
      who is settled and nestled in a pint-sized town


because he will clip you wings.

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

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Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

think of ice cream melting so you have to lick it off the sides of the cone

think of holding hands with a boy for the first time

think of being *****- not a gross ***** but ***** like you worked so hard today that you deserve this 800 calorie meal

think of the sounds of summer when you close your eyes, of a slight wind and the chimes that they blow about on your grandmother's porch

and speaking of grandmothers, and their porches, think of how you discovered watercolours in that very place

and think of coming home from a long day at the pool and watching the rain on your porch while you feel your skin cool down and you drink that amazing caramel tea

think of climbing the tree to get to the wall to climb on the garage roof and watch the clouds roll in over the mountains

think of the feel of the first time you got to hold a baby bunny and how in a way this made you see God

think of that feeling when you hiked the mountain even though your hip was broken and you got to the top and said 'i did it'

think of when you swam in the ocean and all your troubles ran off into the water and left you forever because the water was the pacific

think of putting on all that makeup and your prom dress just because you felt like it

think of dancing in the rain with your sister when the grass smelled sweet and the dirt was soft like a carpet and you felt at one with the world

think of cooking when billie holiday belts it from a record player and you sip red wine and pop the tomatoes in your mouth and your curls dangle in your vision

think of running off stage and getting high fived and glowing because you just successfully became someone else for a scene

think of that wonderful little secret joy you get from seeing that look he gives you when you're not looking... he just doesn't know you're staring at a glass reflection

think of how you have no money and the waitress is at one time annoyed with you because you can't afford a milkshake but grins as she walks away because she was that crazy kid too

think of the love you feel on your birthday when so many people made a special time to buy you something they think you'll like. even if you don't

think of falling asleep in the arms of someone you love and feeling like everything is in the perfect place and you are safe

think of the way cathedrals go up and up in the gothic style and how you understand the phrase heavenly light and feel yourself become weightless as you lean your head back

think of being cuddled in a soft blanket with hot chocolate while it snows, how you know your cheeks are pink and nose is rosy but it's all due to the world baring winter with you

think of thanksgiving and family and eating so much but being together because you are from the same people and you share blood and you are bound

think of swinging around your new haircut because you have nothing touching your shoulders and it ends so quickly and is new

think of drinking wine with your girlfriends in your pajamas and being classy together

think of backpacking through europe and how the locals know you are there to experience the real stuff and not some tour bus nonsense that never lets you stop at this little cafe you want to love

think of finishing a long book that shows wear on the covers that lets everyone know you smelled it paid so much attention to it for so long

think of falling asleep after a long day and knowing you deserve it and you are happy and all the bad is gone from your life. You've coughed out the demons and cried out the poison and you're now a week sober of sadness and everything is getting better and it's not even uphill from here, it's a sleigh ride now

1970 Odysseus visits cousin Patsy in New York City she introduces him to her best friend Lauren’s older less attractive more reclusive sister Tanya Mulhaney extremely wealthy family father founded corporation manufactures pinball machines which years later develop to video games then casino empire he favors and spoils Tanya but dies suddenly her envious sisters and mother gang up on Tanya is pale skinny flat-chested copious brown bush Odysseus sits in bathtub with Tanya and he probes in a way they hits it off maybe no boy has ever touched her in that way her complexion is so fragile slightest fluster prompts pink blotches on her cheeks neck chest back he admires her book smarts he’s attracted to her refined strangeness he thinks her bush and flat-chest are **** she laughs shyly offers to take him around the world he accepts Odysseus tells his parents Mom goes crazy yells into telephone what are you a ******? you father and i work like fools to send you to the best schools so you can make something of yourself you’re going to throw everything away to be a ***? i tell you we’ll disown you you won’t have a home to come back to do you hear me? we’ll disown you! she sobs how can you just walk out after all we have done for you? you ******* kid! Odysseus takes leave of absence from art school he and Tanya take Iberia jet 12 hour flight with stopover in Iceland to Belgium Tanya sinks into one of her moods swallows several pills to help her rest sitting on other side of Odysseus is curly haired skinny talkative musician claims he has jammed with Miles Davis and other jazz greats Odysseus says yeah right and i’ve shown with Johns and Twombly where exactly are you heading in Europe? musician answers he is a scientologist on his way to visit L. Ron Hubbard in England Odysseus does not know what Dianetics are and wants explanation he asks many questions and musician talks for hours they enjoy each other’s rapport as jet descends in Brussels they exchange home addresses in the States 9 months later when Odysseus returns to America a friend notices scribbled address while skimming through his travel journals Odys! how did you get Chick Corea’s address? do you know him? do you realize how brilliant he is? he’s a keyboard virtuoso! Odysseus questions Chick Corea? who’s Chick Corea? he looks at journal page then says oh that guy i sat next to him on the jet to Europe so he really is a famous musician huh? wow!

in October 1970 Brussels is damp chilly Tanya wears hip-hugger jeans black turtle-neck top North Face shell she huddles her arms around her chest smokes cigarettes looks through hotel room window out into gray overcast sky speaks in defeatist voice i didn’t bring clothes for this weather she picks at her plate in hotel restaurant glumly vacillates later in bed after refusing *** decides they leave tomorrow fly to Canary Islands for several weeks to get tan before traveling through Morocco during winter months Canary Islands are laden with Swedish tourists including bikini clad young girls many not wearing tops Odysseus is thinking about how to swing some of that Swedish free love once Tanya gets drunk succumbs to Odysseus’s ****** overtures it is good  one day while returning to hotel from beach 2 Spanish police stop and question Tanya and Odysseus police order to see their passports then command them into squad car police bark in Spanish rifle through their daypacks point a finger Odysseus can smell alcohol on their breaths Tanya and Odysseus are terrified police drive off main road to remote location abandoned ruins no one is around police order them to step out police drive off laughing Tanya’s complexion is crimson she sobs they could have murdered us no one would know who we are or where to find us we’re lost where are we? Odysseus looks around replies don’t worry we’ll be all right i watched where the driver was going we’ll retrace their trail

they fly to Tangier travel south by train Tanya is irritable insisting Odysseus carry her backpack Casablanca is ***** 3 men peer from sunglasses act suspicious wear tattered trench coats Tanya and Odysseus snack at cafe which provides hookahs for smoking hashish Odysseus scores several grams Tanya laughs suggests they rent car drive south travel to sandy beaches of Diabet for 6 weeks in the morning she paces around French hotel room with cigarette in one hand ashtray in other like she is sultry 1940’s Hollywood actress she stays in room and devours Penguin Classics Tolstoy Stendhal Proust Huysmans Zola turns out Tanya is sexually frigid she buys Odysseus anything he wants but does not put out they take train Marrakech it is sun drenched with blue skies mountains in distance Odysseus wants to go out explore get ***** with the natives he visits Medina daily witnessing many bizarre scenes he does not understand a woman squatting over an egg a man with no legs dragging himself through marketplace holding up cigarette butts in his hand he meets a professor who is out of work because king of Morocco has closed the universities due to teachers’ strike professor explains woman squatting over egg is fortuneteller and man dragging himself has been offered crutches many times yet makes more money playing off pity of tourists cigarette butts are for sale the professor invites Odysseus to visit Berbers in mountains Odysseus persuades Tanya she reluctantly agrees the 3 travel by bus in first-class front row seats vehicle filled with lively families chickens pig bus driver has assistant who lugs people onto bus or shoves them out door at a midpoint bus stops in little town everyone exits bus then men women children urinate in street local venders sell trinkets snacks Odysseus buys nibbles shish-kabob that later professor informs is roasted cat and dog they reenter bus wait suddenly butchered lamb flank is flung onto Odysseus’s lap a man climbs aboard bus stairs then grabs large carcass and heedlessly walks to back seat Odysseus wipes blood and slime off his jeans Tanya demurely giggles bus climbs mountains arrives at small Berber village professor leads them along narrow winding street of shanty huts sheltering merchants open kitchens professor tastes from various steaming iron kettles finally decides on one they are directed to rickety roof where they sit wait a boy comes up with plastic bowl filled with water and small box of Tide following professor they wash their hands then minutes later proprietor brings up simmering *** of couscous serves it with scratched raw plastic bowls no eating utensils they eat with their fingers Tanya seems bothered declines to partake she withdraws into silence after meal she becomes irritable complains of headache says she needs to return to Marrakech she remains standoffish on bus all the way to French hotel

after Marrakech they take boat trip to Italy while onboard Odysseus meets Italian Count who has an eye for him Odysseus wears Jim Morrison beat-up leather jeans Bruce Lee t-shirt scraggly whiskers Count wears thin manicured beard tiny red Speedo swim trunks Tanya grins amused Count offers Odysseus and Tanya to be guests at his villa in Milan city flourishes with stylish clothes loud lively restaurants classical sculptures covered in car pollution following several weeks of aristocratic wining and dining amazing 11 course elegant soiree Odysseus botches compliance with Count’s desires they are asked to leave Tanya laughs hysterically they board train to Germany based on Tanya’s tour book they find historic hotel with wind rattling windows coin operated hot water bath in Munich Tanya stays in room Odysseus goes to dance club meets brown-hared pale skinned German girl neither speak the other’s language he pays for hourly rated room they play German girl in animated gesturing warns him as he is going down on her but he does not understand until several days later scratching beard finds ***** seeks A-200 lice treatment German version leather pants disposed Tanya knows but says nothing she buys Volkswagen they drive through Black Forest Tanya wants to visit King Ludwig’s castles Odysseus does the driving mostly they listen to the Who’s “Who’s Next” and Joni Mitchell’s “Blue” he follows Tanya’s instructions not knowing who King Ludwig was eventually he learns Ludwig was colorful character built extravagant Disney like castles and friends Richard Wagner Bavaria is cold gray brown deep forest green scenic Swiss Alps visible in southern view they drive from Neuschwanstein to Linderhof to Herrenchiemsee then Freiburg lodge in bed and breakfasts Tanya grows restless by all the driving decides to ditch car along road in northern France as Odysseus unscrews car license by road side several cars stop French people concerned they need help Tanya is anxious hoping for clean get away from abandoning vehicle they board train to Paris Tanya speaks a little French in spring of 1971 they are backpacking in search of hotel on Left Bank it rains all morning sky is overcast Tanya reads “Pride and Prejudice” Odysseus draws in sketchbook at sidewalk café sitting next to them are older Parisian couple man detects they are Americans he turns to them expresses in English his contempt why can’t you Americans learn from France’s lessons in Vietnam? Tanya and Odysseus don’t look up they feel like dumb ugly Americans within days they leave Paris

cross English Channel by boat they find temporary apartment in Earl’s Court in London it is overcast almost every day within a month they move to larger place in Chelsea with backyard with run down English garden Odysseus weeds garden plants tomatoes lettuce carrots radishes flowers Tanya stays in her room smokes reads at night they go out to ethnic restaurants one night they visit Indian restaurant a very proper English woman sitting at next table orders exotic fruit for dessert Odysseus asks waiter what kind of fruit waiter answers mango Odysseus has never seen or tasted mango English woman delicately eats the fruit with fork and knife Odysseus orders mango for dessert he attempts to imitate how English lady proceeded fruit slips around on plate finally out of frustration he picks it up in his hands bites into it he is aroused by how luscious mango is sniffing with nose scraping fruit’s skin with front teeth then ******* the seed Tanya makes a face suddenly the seed slides from his grasp shoots across table Tanya’s cheeks neck turn scarlet voice raises stop it Odys! you’re disgusting! are you intentionally trying to embarrass me? why are you doing this? he replies i’m not doing anything to you i’m enjoying the most delicious fruit i’ve ever tasted who cares what it looks like? later she laughs about incident offers to buy more mangos promises to take him shopping at Harrods tomorrow he goes along with their arrangement until it all seems like pretty background scenery to an empty intimacy missing all his friends back at art school he writes about his loneliness he feels trapped in Tanya’s web several times he sneaks English girls into his room when Tanya jealously confronts him he admits he has had enough and wants to go back to Hartford she suggests at the least they fly to Bermuda for several weeks to get tan before returning he declines on June 30 1971 Odysseus returns to Hartford and Tanya moves to San Francisco on July 3 Jim Morrison overdoses in Paris

backpacking in the Jefferson wilderness
eating fresh wild blueberries
warmed by a late spring sun
the crystal blue sky captures me
and I stand, transfixed –
How could we have collectively been so blind?
pumping Co2 into the atmosphere
dropping atomic bombs
and an atoll
named after a bikini…
and the plastic island –
A wispy cirrus cloud
floats gracefully overhead
and takes my thoughts
on a journey
distant smokestacks dot the horizon
and drilling platforms stand menacingly
just beyond the shore,
and inside the bellies of sea creatures …
the plastic –
readjusting my pack
and leaning over to re-tie my shoestrings
the slow crawl of an ant packing lunch
sends me reeling
so many hungry children
just in the state I live
hopeless and *****
in run down or condemned houses
waiting, with tear streaked cheeks
for someone to show up with dinner
as the third foodless day
is always the hardest –

As Lewis walked up to the door, it strangely felt like he had been here before. But he hadn't. She had moved here three years ago, and he never saw the place. It smelled like Nina's home alright, though. The faint whiff of hydrangeas, of roses, and of other flowers caught he keen nose, and he breathed in deeply and smiled reassuringly to himself. The he became serious, as if he had no right to smile.

Was this the right thing to do? He hoped so. Time would tell. It felt as if it was almost yesterday, instead of six years ago, as he knocked on her door.

After a few knocks, a minute or two, Nina opened the door to her house. Someone had to be home, for there was a car in the driveway. As she looked upon him, Lewis expected her to slam the door shut in his face, but she also acted as if she had just seen him yesterday. And it seemed like no big deal to her.

Without much emotion on her face, she left the screen door shut, but she kept the inner door open. Walking away, it was like she expected him to follower her non-verbal lead. He did, hesitantly.

In the kitchen, Nina poured him a cup of coffee. "You hungry?" she asked him. "I am about to put some cinnamon roles into the oven. I'm going to open up a can from the fridge."


"Oh?" Lewis responded, trying to be nonchalant, trying to hid the nervousness in his voice. "Not from scratch?" His heart was practically beating out of his chest.

Nina's back was towards him. She was finishing some dishes in the sink. "Yeah, I know I was always Betty Crocker. But I'be learned to make short cuts, and it tastes just fine. Makes life easier to not do everything like Grandma did it."  

After she separated the rolls apart, and stuck them into the oven, she just kept going about her business. She started to open some mail and sorted the items into piles of importance and priority, and into a pile that could wait.

Lewis was shocked. He couldn't believe her composure. After a while, she turned around, leaned against the counter top, and she acted like she didn't have a care in the world. She didn't look one bit stressed, angry, sad, shocked, disgusted--or anything.

Finally, Lewis said, "Nina, I don't get it." He felt itchy, and tense, as if he could scratch his skin off, as if he was waiting for a bomb to drop. "Why aren't you telling me to get the hell out of her...to go ***** off...or call me every name in the book."

Nina just looked him up and down. He began to chuckle, nervously. "Come on, Nina! I am surprised you just don't grab that pan of hot rolls in the oven, and whack me in the head with them!"

In response, Nina still said nothing, acting as if nothing ever happened.

Becoming quite unsettled with her unexpected composure, he went on. "I mean...come on..scream at me. Cuss me out! Slap me! Punch me! Something, for God's sake!"

Nina raised an eyebrow, and tried to resist smiling. She was waiting patiently for him to explain himself, not to go on like this. "Is that what you want, Lewis? Is that why you came her? To beat you into oblivion with a pan of hot cinnamon rolls?" She didn't try to make him look foolish--he was doing a good job of that on his own.

Lewis turned red in embarrassment, and started to smirk. "Well...yeah...would make more sense to me."

The timer went off and the rolls were done. Putting her oven mitts on, Nina pulled them out of the oven and let them cool on top of the counter. The silence was eerie, awkward.

She poured him another cup of coffee, and finally addressed the elephant in the room. As he still looked up at her, dumbfounded by her, she said, "Lewis...if you have the ***** to come here...than I can certainly let you in and hear you out."

With that said, she filled a plate full of rolls, places them in the center of the table, pulled out a chair and sat down across from him at the table. "I'm listening", she said, her expressions still low-key. Yet Lewis thought that her eyes and mouth seemed ready to mock him, positioned to put him in his place. His guilt wouldn't allow him to think, otherwise.

Why would she serve him food and coffee? Why not just get it all into the open and demand that he spill his guts?

Lewis didn't want to beat around the bush any longer, but spoke plainly in his confession. "Nina, what can I say? I'm an ***." She didn't nod her head in agreement, nor say that he sure was an ***, yet a "look of  suspicion was growing upon her face.

"OK, OK", he went on. "I should never have left you--of all days! What a frickin' wimp! I should have manned-up and told you I wasn't ready to get married. Instead, I stood you up at the church...of all places...in front of your family...your friends. A complete no-show--I made a mockery of that day! It was supposed to be one of the best...and I made it the worst! Some in my family haven't really gotten past it or have forgiven me. Not fully. A few barely talk to me. My best friend, Steve, thinks I'm a *****--a dumb fool!"

Nina sighed with relief. This was what she wanted to hear. The tears started flowing.

Lewis told her, "So I just don't get it. I don't get why you are not furious with me! It just blows my mind!"

Lewis grabbed for another cinnamon role, and Nina handed him a napkin. She wasn't crying anymore, and he was glad. Why was she being so nice though? So hospitable? Did she have something up her sleeve? Did she mean to get back at him? Maybe poison in one of his roles? Lewis had to laugh at himself. Actually, that might alleviate some of his guilt right now.  

Picking at her role, Nina explained, first more sharply. Then she was soft in speech. "It's not all about you, ya know! Look, Lewis, don't think that for a moment that just because it is more OK now that it was OK back then! Well...I guess you already realize this. You see, I'm different now...changed...grown a lot since. I did a lot of soul searching, lots of growing."

"I can see that. It's wonderful."

"And I wondered what I did wrong...at first. Then I hated you, blamed you. I wished that I never said I would marry you. I did plenty of screaming at you--plenty. I bring things in a rage--mirrors, a clock, a dish or two--bruised my fists up pounding things."

She paused and continued, all the time looking at the intricate, lace doily on the center of the table, under a vase of fresh daisies. Finally, Lewis saw the gamut of emotions. In one moment, her face would pinch in frustration and anger. It would then evolve into a soft sadness, and other emotions within.

"Wasn't so composed about you back then, Lewis. Let's see...I swore at you. I wished you were dead. I ripped up every picture of you...put some in the shredder, wishing they were you, instead..prayed that you would die. Bitterness isn't event he word for it. I thought you were the worst thing that happened to me, that you ruined my life forever. I cursed you up and down, Lewis. I'm sure I even invented some new curse words."

That was enough said. She looked up at him and slightly smiled. Lewis smiled back, for at least she felt real to him now, quite natural. She admitted, But I think I cried far more than I hated you. I still loved you."

Lewis wanted to sit right next to her and hold her. "Oh, baby...I'm so sorry..."

Nina quickly interjected. "Honey, you weren't ready for marriage. We were both young, only in our mid twenties...we thought we had it so together. It took me a while, but I finally realized that you needed to find out who you really were, came to that conclusion for a while now. And, boy, did I need to get to know myself more, too!"

"No!", he insisted, emphatically. "Don't make excuses for me! I did not do right by you!"

Nina reached across the table and put her hand upon his. "It seemed like hell at the time, but I needed to learn about me, too! Crazy as it sounds....if it did not happen...I never would have..."

She stopped short. Lewis had tears in his eyes, and one began to roll down his cheek. "Met Gary", he said, finishing her sentence for her.

Surprise flashed across her face. "You did your homework!" Nina stated. She was quite impressed and smiled.

"I wanted to know what happened to you", Lewis responded. "You probably wonder why I didn't walk away for good. I intended to....but you deserve some answers, and I'm here to give them to you. Sure, I could have walked away, and stayed away. I could have saved myself the embarrassment of facing you, again. I could have pretended to have some dignity left."

"But you do have some dignity left", she insisted, sweetly. "It takes a lot of courage to do this. I'm glad you did."

"Are you happy now? I mean...I hope you are."

"Very."

Lewis didn't even have to ask. He could already tell. They sat in silence for a moment. Nina finally said, excitedly, "Gary's a great guy! We both love art. We both love nature, the outdoors, to travel.  He loves other cultures, and learning other things--like languages." Her face was beaming with pride. "Gary is trying to learn Portuguese and brush up on his Spanish. This year ,we are planning a trip to Portugal and Spain!"

Nina always did keep a nice home, and she decorated it with art that was acquired from different places. Where Lewis didn't have a sense of what looked good, she had a good sense of style. When they were both together, the talked of going to different places that they never traveled to--Africa, Asia, Australia--backpacking across Europe. They were big dreams.

Nina did not want Lewis to feel punished, but his agonizing expression of remorse would have been punishment enough. It already was for him, and it showed his sincerity.

"You know how I met Gary?"

Lewis shook his head. "A support group for divorced people! she admitted, gleefully, as if that was the most amazing thing to say.

Lewis looked embarrassed. Perhaps, he misunderstood her.  "What? For divorced people? You were never married before Gary, were you?"

Perhaps, there was something she wasn't telling him. Nina burst out laughing, seeming so carefree as she threw her head back and clapped her hands. Her laughter was beautifully contagious, and Lewis loved to hear it. "No, of course not!" she said. I have no secret past before I met you...or even now. It's just that a divorce support group was the closest support I could get. After all, there are no support groups for jilted brides and grooms!" She laughed even more.

They were talking so easily now, getting along so well. But why? It still seemed so surreal. Lewis laughed along with  her, as if this was just an encounter  to revisit the good, old times. When hearing of Gary, Lewis felt the pain of his loss, as well as some jealousy rise up. As if he had the right!  

He truly was an ***! He never deserved her!

Nina soon became serious, again. "So did you just come here to say you were sorry?" She was thinking he wanted something else from her, something else to say.

Lewis was once poised to take off in a real hurry. Now, he felt more at home. "Yeah...I came to say I was sorry to you...hoping to stop feeling sorry for myself... I guess. I'm wishing I could just turn back the clock. I swear I'd do it all again, differently."

"But the past cannot be change, and we both know it", Nina stated, resolutely.

He nodded in agreement. She didn't burst his bubble, for to think otherwise was a childish, fantasy.

"I don't know what else to say, Lewis". Nina's eyes reflected sorrow, not pity. "Life does really go on...if we let it. We have to let it, though." She now turned the conversation onto him. " So how about you? I hope you have some good news to tell me, something in your life."

He shrugged his shoulders. "I've had a few, short relationships", he admitted. Where there any displeasing looks on her face? Lewis didn't notice anything, now. "Not all that bad, I should say. But I just don't want to settle down until I finish my Masters in business. I'm nearly done."

"Good for you! That is great news!" Nina truly was glad for him, and it just showed him what a great woman she was. But then Lewis already knew this.

"Are you still teaching?" he asked, hoping she was, for she strove for the job, and loved it so much.

"Yes, I teach kindergarten, and Gary teaches science at Darland College."

"Well, what do you know? Both teachers. That sounds like a perfect match for you. And what about kids? None yet?"

"In time...sure. We just aren't ready right now."

She offered him more coffee, but Lewis declined. He was thinking he should go soon.  He said. "You know we used to talk about having a boy and a girl--and in that order, too!"

Nina rolled her eyes. "Yeah, boy oh boy. Like we had complete control over it".

They both laughed. It was fine to reminisce, and they did for a while, Lewis realizing that this would be the last time. He lived three hours away. And why should he come back? He did what he set out to do.

Nina would tell Gary about the visit after he came home from work. As husband and wife, there were not secrets between them. Nina was sure he would be surprised,f or his ex-wife never came to apologize for the pain she caused him.

"Gary's wife had an affair on him, and then left to marry that man", Nina revealed. "Thank God there were no children from that marriage."

"Wow, that is ******! Thank God I never did that to you!. I would have never cheated with another woman...or I might never have tried to face you. It would be easier to slink back into the ditch and stay there! This is hard enough as it is!"

"Maybe so, Lewis. Maybe so." Nina quickly added, "You aren't a bad man. I know this and I wholeheartedly mean this, so don't keep beating up on yourself. I've forgiven you for everything. I forgave you then, and I forgive you now. "

"Nina, that means everything to me!" He started to choke up, and more tears came.

Listen, Lewis. You need to forgive you, too."

He lowered his gaze, as Nina held his hand and gave it a squeeze. Never was Lewis so contrite before. Like many men, he never was overly emotional, and so this different side of him was a refreshing experience.

"Yeah,  it's time to move on", he stated, using a napkin as a tissue.

"Yes, it is. And I loved what you did. It was helpful for us both. It's the closure we need."

"Yep", he said, wiping away more tears.

"You are a guy with guts, Lewis. you do have courage, and more integrity than you think, and I hope you see it."

Nina offered him more coffee, and he accepted. Why couldn't they chat a little while longer? It was no harm, and it made the visit even more meaningful. Sitting and shooting the breeze more was not a bad thing.

The kitchen still held the fragrant smell of cinnamon, as they polished off more rolls and spoke more of good times.

Trudging through the rain
but still smiling and laughing
Hopelessly in *love

Name of Teacher:*___________________________________________
Teacher/Course Evaluation: Fall Semester, Humanities Block (History & English) Hopi High School, Keams Canyon, Arizona, Bureau of Indian Affairs (BIA).

_______________ (1) This course was: (A) always different; never boring; sometimes even enjoyable (B) like a sleeping pill, an experience similar to having narcolepsy (C) like being sentenced to a maximum-security penitentiary for a semester; what did I do in a previous incarnation that stored up so much bad karma for me to deserve being here?   (D) a semester living under a totalitarian regime; this teacher would have fit right in with ******’s “Gestapo” (E) what I imagine it would have been like at Herot, Hrothgar’s royal mead hall in Beowulf, whenever the monster Grendel came calling.

_______________ (2) This teacher:  (A) knows how to teach, knows a great deal about this subject and others, creates a classroom atmosphere that resonates with teenagers and truly cares whether I show up ready to learn (B) never remembers my name, let alone my birthday (C) actually hates me and has made several attempts on my life (D) should have his license to teach revoked; can wiring my desk for electric shocks be legal?
(E) often wanders off, leaving us alone in the classroom for as long as 30 minutes at a time while out in the parking lot screaming about aliens and/or Bolsheviks.

_______________ (3) Compared to all other teachers I’ve had since kindergarten, this teacher: (A) is one of the best, certainly in the top 10% (B) has the worst personal hygiene; aren’t teachers required to bathe at least once a month? (C) has the least credibility; he tells me nothing but “lies, ****** lies and statistics” (D) frightens me the most, particularly whenever the moon waxes full (E) is obviously the one most in need of a good 12-step recovery program.

_______________ (4) This teacher’s grading system:   (A) is objective and reflects what I earn; not subjectively based on whether he likes my face or not (B) is based on a point system that is clearly explained and fairly administered (C) is based on assignments that are challenging but not impossibly difficult (D) includes opportunities to earn at least some extra credit (E) A, B, C & D (F) none of these; sometimes I think he pulls my grade out of his ***.

_____________(5) If I could change one thing about this teacher or his class, I'd: (A) change nothing: this teacher belongs in Sir Thomas More’s Utopia (B) insist that he use English in the classroom, not that "clicks and pops" sound-effect language he learned while backpacking in sub-Saharan Africa one summer (C) tear down that rice-paper-thin, cardboard wall separating his classroom from the one next door (D) demand that an FBI Trained and Certified Document Examiner review his BIA job application, teaching credential, college transcripts and fingerprint card (E) remove sheep and goats*.

My body burns to rove far from man-made
buildings, prisons for the modern soul.
I need to traverse the frontiers white man stole
from those who made it their home.

I've been down to the Everglades of Florida.
Fan boats flew through the estuary lines with roots
of mangroves. I've been to the Hoh Rain Forest of
Washington where fog descended on the shoreline
and married the sulfur smell rising from hot springs.

I must experience America's coast to coast beauty.

Every spare seconds I spend luxuriating in the
sun, thinking of all the places untouched.
My list of desires grows as the glaciers
of Glacier recede in Montana, beckoning
me to the Rocky Mountain Peaks.

Old Faithful gushes, surrounded by wolves and grizzlies.
Someday I'll cross Yellowstone's expansive mountain ranges.
from Idaho to Montana to Wyoming. On the arches of
Utah I'll face my fear of heights and find solace at
the tops of time-layered sandstone towers.

Descending the Grand Canyon I'll study beautiful
colors exposed by years of erosion. In winter
Death Valley will be braved. The lowest and direst point
will exhilarate me with scaled creatures as sand
dunes whisper my name with every hot breath.

The Badlands of South Dakota will hope I come
backpacking through prairies to watch precious bison roam.
California Redwood trees and I will stand side by side
as friends. Yosemite will call me to her cliffs and I will chase
waterfalls and sequoia groves until I've seen it all.

I ache to explore the terrain that bears
my name, the country I call home.

This is the mountain I'm climbing
Due to circumstantial timing
The triumphant peaks change over time
Just one of this mountain's many crimes

The rocks on this mountain are flawed
But the mountain is flawless
Nature enforces restrictive laws
So my life becomes lawless
Through this insanity
I can't find my humanity
It's gagged and bound
In the lost and found
On this lonely hill
Where I get my fill

It's an uphill battle
Getting above this mountain
My conscience rattles
My eyes pour like a fountain
When I see everything suddenly
Like halos hovering
Over my past
Lying dead in the grass

Sometimes I must traverse a log to go over a bog
Then I must do the inverse to go under the smog
There are countless endeavors
Through varying weather
That leave me very confused
And frantically panicked
This mountain provides a view
Of the entire planet

This mountain made of dust
I scale because I must
Stillness develops rust
When cliffs await us
I see dead pioneers on the ground
I see weary travelers all around
I see fellow climbers as brothers
Unless I see them as a lover
Then I want to go cave exploring
Before my grave ends the story

Things should get weird
If banality is to be feared
In order to make a mark
Even if it's in the dark
To be perfectly candid
This mountain is my canvas
I carve my face in it as I go up
But my face changes as I grow up
So I start swag jacking
The backpacking
Mirror macking
Confidence lacking
Mountain attacking
Climbers
So I can find a crevasse to fit into
This mountain is easy to give in to