Yearly Archives: 2018

133 posts

An Interview with the Lost Sherpa of Happiness

It’s not every day you track down a lost sherpa (if briefly). Not every day he agrees to pause for a brief interview, either. But yesterday, in single-digit weather, with wind gusts making it feel like sub-zero weather, LS did just that. As I learned a thing or two about poetry (or “life,” as he’d prefer you call it), I figured I’d share the back-and-forth:

KC: Why are you called the “Lost Sherpa of Happiness”? I mean, are you really lost?

LS: Not me. We.

KC: All lost?

LS: Look at the stars tonight, which are only the beginning, and consider your place here. What you know. What you don’t know. Does it seem disconcerting to be considered lost?

KC: Some readers of the book look at the cover and think the collection will be about Nepal or summiting Mount Everest or Buddhism, perhaps. Why does the book carry that title and that artwork?

LS: You have to stop thinking of the challenge we call “Everest” and the guidance we call “sherpa” as a place and a person. Then you will see that all the poems in this book are about “Everests” of a kind — challenges, obstacles, frustrations. The figurative mountains you’d see around you, if you looked, Nepal or not.

KC: But you yourself are only in one poem. The title poem that wraps the book up.

LS: I am both reader and writer as well. Therefore, I am in every poem. Reading and writing are all ways of walking, searching, observing. Sometimes choosing to question and more times choosing not to.

KC: What about section two of the book’s three parts–all animal poems. Is there a reason for this?

LS: It is a human propensity to box and label things, to demand order from our disorderly world. Yes, it’s true that the “Second Search” poems tell the stories of various birds and mammals and reptiles, but those stories are our stories. We are animals. We are that song sparrow singing, despite the hawk far above in the pine tree. We are that young raccoon trapped in a dumpster after enjoying someone’s thrown-away food. We are that dog just being a dog in a room with humans who demand silence from a dog not being a dog. As your American writer, Mark Twain, once said, humans are often less logical animals than the ones they feel superior to.

KC: What about the first search, the part where many poem’s recall your youth?

LS: Or your youth. Or any reader’s. As youths, we are often wiser than the elders. The nonconformism. The imagination. The openness and the wonder. Poems see this because, as has been said by the Buddha himself, we are all poets when we are children. Not writers of poetry. Observers of a world that is poetry. We look at things like we never could as adults who have been shaped by society, pressed by authority, molded by the tyranny of others’ opinions and demands and expectations.

KC: So I guess that means the last section is really not so much about twilight years…

LS: True. Life as wheel. The way the elderly finally free themselves of caring, becoming more open like the children they once were, preparing themselves for their next life, for freedom from samsara.

KC: Does this mean you are not lost, then?

LS: It means I am happy, and that “lost” is more word than state of being. There is great joy and discovery in being “lost.” That is the country these poems travel — “country” as in land, not nation with arbitrary borders (which, by their nature, can’t help but be arbitrary).

KC: Do you have a favorite among the poems in the book?

LS: Picking favorites would be like claiming individualism does not exist. It does exist. There are many faces to happiness, to sadness and to regret. All the human emotions we see on our journeys and searches.

KC: So, I gather, you have no intention of being found or finding what you’re looking for.

LS: In the words of the prophet, Bono (an Irish Buddha of sorts!), “I still haven’t found what I’m looking for…” We all carry those words in our hearts. It’s how we interpret them. I embrace the negative contraction positively because it is the spirit of the present. Finding, searching, being lost. It is being. How else will we ever enjoy this “tenuous moment of wilderness,” as the last poem of the book terms it, called life?

KC: Thank you, and I won’t keep you any longer. Good luck with your fourth search. And thank you for sharing your pursuit of happiness in this book.

LS: (laughter) Thomas Jefferson. The pursuit of happiness. It is the pursuit itself, not the happiness you imagine ahead and out of reach. Take that with you on your own searches. See what you find….

 

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Unlike major publishing houses, small, independent publishers have no marketing budget to speak of, so they depend upon word-of-mouth enthusiasm among their readers. Help keep the word-of-mouth buzz rolling for Lost Sherpa of Happiness by visiting Amazon for a copy.

Robert Hass and I Chat a Little Prose and a Little Poetry

hass

In this our third and final entry on the exciting world of prose poetry, I present quoted bits from Bob (his new book, A Little Book on Form), interlaced by my responses. A friendly chat, if you will (or even if you won’t). As you will see, Robert Hass knows a lot more than me on the topic, but I’m here to learn.

RH: “There are at least two kinds of this kind of thing: proses that are one paragraph long and proses that are more than one paragraph long.

“The paragraph as a formal device differs from the stanza in that the proposition of the paragraph is unity.

“The proposition of a composition of one paragraph is completeness.

“A paragraph that goes on for much longer than a page breaks the basic contract of the paragraph.

“These are all expressive possibilities.”

KC: Amen to that contract bit. I can’t tell you how many classics I’ve read where, when you turn the page, you see a paragraph that swallows BOTH pages, left and right. It’s like taking a deep breath and diving in to swim the underwater length of an Olympic-sized pool.

RH: “What the texts for writers say is true: The four kinds of prose are narration, description, exposition, and argument.

“This expectation is also an expressive possibility.

“From the beginning, this kind of prose was torn between undermining its medium and appropriating it.”

KC: Huh?

RH: “So a paragraph, which is a proposition of unity, full of non sequiturs is a contradiction in terms. This is, has been an expressive possibility.

“The prose poem came into existence not only during the age of prose and the age of realism, but at the moment when prose and realism were just beginning to enjoy the prestige of art.”

KC: I enjoy that, too. I’m a prestige guy from way-back.

RH: “This kind of prose was sired by ambivalence and envy. The ‘prose poet’ is either worshipping at or pissing on the altar of narration, description, exposition, and argument. Or both.

“To write this kind of prose you probably have to love or hate the characteristic rhythms of prose.

“The rhythms of poetry have quicker access to the unconscious than the rhythms of prose. It may be that this is one of the reasons many people prefer prose to verse. It does not make an indecent claim on the reader’s person at the outset.”

KC: I personally hate it when people make indecent claims on my person. Unless it’s my wife.

RH: “One of the obvious possibilities of this kind of prose was to fill it full of the devices that people identify as lyrical as a kind of alchemy to transform prose and the world of prose into poetry. This was the way of Rimbaud.

“Another possibility was to thwart the expectations of prose. Cubist prose, like Tender Buttons [Gertrude Stein], did it at the level of grammar. Surrealist prose did it at the level of representation and at the level of sequence.

“In all three cases, varying in intensity, the idea was to use the medium in ways that would subvert the usual expectations of the medium.”

KC: I’m loving this. And I think I’m even getting it. Especially how poetry has quicker access to the unconscious than prose. There’s clearly a difference when you read the two. Even when you read a poem side by side with its ugly duckling cousin, a “prose poem” (whose name is even ugly). Uh, would you mind passing the peanuts?

 

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Help keep the word-of-mouth buzz rolling for Lost Sherpa of Happiness by visiting Amazon for a copy. (And as Amazon likes to say, “Only Three Remaining! Order Now!”)

Prose Poem: Hero in Minotaur’s Clothing?

minotaur

One poet Robert Hass mentioned as a periodic practitioner of the “prose poem” was Zbigniew Herbert, who offers “an example of the way it appropriates fable.” For today’s discussion purposes, below is a copy of Herbert’s prose poem “The History of the Minotaur” as translated into English by Alissa Valles.

As you read, ask yourself this: Does it look like poetry or prose to you? Is it “poetry” only because it is, like the ugly duckling (read: quacking swan) walking with ducks, that is, a poem only because it is in a book surrounded by other poems?

And this: Is it rife with poetic devices? Does the humor work to its poetic advantage? The snappy ending, maybe?

Me? I have no horse in this race and couldn’t tell you if I did. The good news is, I’m not sure the established poet and professor and winner of the Pulitzer Prize–Mr. Hass–could, either. If ever a man needed his poetic license to get out of a difficult spot, this is it!

The History of the Minotaur

by Zbigniew Herbert

The true history of the prince Minotaur is told in the yet undeciphered script Linear A. He was–despite later rumors–the authentic son of King Minos and Pasiphaë. The little boy was born healthy, but with an abnormally large head–which fortune-tellers read as a sign of his future wisdom. In fact with the years the Minotaur grew into a robust, slightly melancholy idiot. The king decided to give him up to be educated as a priest. But the priests explained that they couldn’t accept the feeble-minded prince, for that might diminish the authority of religion, already undermined by the invention of the wheel.

Minos then brought in the engineer Daedalus, who was fashionable in Greece at the time as the creator of a popular branch of pedagogical architecture. And so the labyrinth arose. Within its system of pathways from elementary to more and more complicated, its variations in levels and rungs of abstraction, it was supposed to train the Minotaur prince in the principles of correct thinking.

So the unhappy prince wandered along the pathways of induction and deduction, prodded by his preceptors, gazing blankly at ideological frescos. He didn’t get them at all.
Having exhausted all his resources, King Minos resolved to get rid of this disgrace to the royal line. He brought in (again from Greece, which was known for its able men) the ace assassin Theseus. And Theseus killed the Minotaur. On this point myth and history agree.

Through the labyrinth–now a useless primer–Theseus makes his way back carrying the big, bloody head of the Minotaur with its goggling eyes, in which for the first time wisdom had begun to sprout–of a kind ordinarily attributed to experience.

 

There you go! One of the prose poems touted by Mr. Hass himself. Is it my favorite in my much-esteemed Collected Poems of Zbigniew Herbert 1956-1998? Not hardly, but that matters not and is not pertinent to our exploration of the form.

In our next post, more Robert Hass debating with himself over the stormy marriage of prose and poetry. It’s like reality TV. Only in a book. Tune in tomorrow!