Frank O’Hara: The Day Lady Died

The Day Lady Died

It is 12:20 in New York a Friday
three days after Bastille day, yes
it is 1959 and I go get a shoeshine
because I will get off the 4:19 in Easthampton   
at 7:15 and then go straight to dinner
and I don’t know the people who will feed me
I walk up the muggy street beginning to sun   
and have a hamburger and a malted and buy
an ugly NEW WORLD WRITING to see what the poets   
in Ghana are doing these days
                                           I go on to the bank
and Miss Stillwagon (first name Linda I once heard)   
doesn’t even look up my balance for once in her life   
and in the GOLDEN GRIFFIN I get a little Verlaine   
for Patsy with drawings by Bonnard although I do   
think of Hesiod, trans. Richmond Lattimore or   
Brendan Behan’s new play or Le Balcon or Les Nègres
of Genet, but I don’t, I stick with Verlaine
after practically going to sleep with quandariness
and for Mike I just stroll into the PARK LANE
Liquor Store and ask for a bottle of Strega and   
then I go back where I came from to 6th Avenue   
and the tobacconist in the Ziegfeld Theatre and   
casually ask for a carton of Gauloises and a carton
of Picayunes, and a NEW YORK POST with her face on it
and I am sweating a lot by now and thinking of
leaning on the john door in the 5 SPOT
while she whispered a song along the keyboard
to Mal Waldron and everyone and I stopped breathing
It’s strange how this poem begins. After reading the title, you assume the poem will focus on the greiving process; in fact, the poem begins with a man explaining his daily routine in specific detail. The audience learns a great deal about the speaker in these first few stanzas. He is busy, first of all, and seems quite cultured – he reads a lot, goes to the theater, and knows about art. Most of the poem is consumed with his trivial actions. In the end, he picks up a paper and sees a picture of her on it. We can assume “she” is dead from the title.  The speaker breaks out into sweats, perhaps out of greif or disbelief. “She” is Billie Holiday.  Holiday’s nickname in her performance era was Lady Day, so O’Hara plays with the title words to include this reference. As I said before, this speaker seems high-class and cultured. He had once seen Holiday perform. Maybe her death was a shock to him because it showed that all this luxury and beauty and art must end. Even the most wonderful and worthy people must die someday.

June 8, 2010. Uncategorized. Leave a comment.

Charles Simic: Fork

This strange thing must have crept
Right out of hell.
It resembles a bird’s foot
Worn around the cannibal’s neck.

As you hold it in your hand,
As you stab with it into a piece of meat,
It is possible to imagine the rest of the bird:
Its head which like your fist
Is large, bald, beakless, and blind.

I had previously heard that Simic was a surrealist poet, and after reading a few of his poems, I can see that he is the Salvador Dali of poets. The way that he transforms a simple household object (a spoon, a fork, a stone) into a living, breathing creature is unsettling.  Humans use forks everyday; they are commonplace and controlled by us. Simic sees this fork as an unknown creature and describes in such a way as to make seem evil. This alchemy makes the object seem odd – why would we want to put something as vile as a “fork” into our mouths? A fork is nothing other than a small devil’s pitchfork, a bird foot, so why keep one around the house? In many of his poems, Simic forces us into alien status, making the common world a strange place. We must see things for the first time.

June 5, 2010. Uncategorized. Leave a comment.

William Wordsworth: The World is Too Much With Us

THE world is too much with us; late and soon,
          Getting and spending, we lay waste our powers:
          Little we see in Nature that is ours;
          We have given our hearts away, a sordid boon!
          The Sea that bares her bosom to the moon;
          The winds that will be howling at all hours,
          And are up-gathered now like sleeping flowers;
          For this, for everything, we are out of tune;
          It moves us not.–Great God! I’d rather be
          A Pagan suckled in a creed outworn;                         10
          So might I, standing on this pleasant lea,
          Have glimpses that would make me less forlorn;
          Have sight of Proteus rising from the sea;
          Or hear old Triton blow his wreathed horn.

Although this poem was written almost a century ago, it still resonates with me today. The first line of the poem, “the world is too much with us,” is seperated with a semi-colon from everything else in the poem. Perhaps this is to indicate the significance of the statement. The reader must wonder if the world is better off with humans, and why? Wordsworth proclaims that humans have lost touch with nature and are too obsessed with material.  When reading the poem out loud, there is a certain rhyme scheme (petrachan) that makes it seem angry. Although the tone itself seems to be admonishing, the emphasis on words gives away even more Wordsworth’s dissappointment in humanity. Wordsworth then goes on to say that he wishes to be removed from this plebian and uncaring lifestyle – he wishes to be a Pagan, which is not an acceptable spirituality at his time. Paganism would help him to see the greatness of nature and the awe of the unknown world. In line 10, “a Pagan suckled in a creed outworn” evokes imagery of a mother feeding a baby; however, this mother is uknown and is too great to be comprehensible. Wordsworth is trying to say that humans would be better nurished by the uknown and that which invokes awe in them, than the way that they were currently living.

June 5, 2010. Uncategorized. Leave a comment.