Just Say Right, It’s Only Weather

As long as the nation’s fleet of private jets can take to the skies there’s no call to whine about so-called climate (the Dems’ name for weather). There’s a right way to think about it, just do a thought experiment. Imagine the Rio Grande frozen by some flukish Arctic blip. Poison blood can just walk across the ice straight into Texas — steal your Evinrude, peep at your wife, whatever. Crazy, right?

First of all, flukes happen. Welcome to life as we know it. Old Mother Nature can be uppity — she’s a woman! But there’s a come-to-daddy moment when the chips are down, and that’s when the private jets go airborne, from Boca Chica to Belarus, from Dallas to Davos. They carry the right fellas doing the right thing in the right places for the right people to make the weather great again.

As long as gushers outnumber dusters, wealth is protected, the lobby’s good-’n-greased, the dark money flows, and there’s a firm hand on the till, the world can count on right guidance in all weathers. You can take that to wherever you hide your stash, pardner.

(c) 2024 JMN — EthicalDative. All rights reserved

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Epistemic Hubris: Unwarranted Certainty (About Complex Issues)

Holly Warburton [New York Times illustration and credit for Maggie Jackson’s article “How to Thrive in an Uncertain World, 1-13-24].

Greek words are a nerd’s downfall. I’m a nerd, therefore felled by epistemic hubris. Whenever I encounter “epistemic,” as in Maggie Jackson’s essay, I have to mentally re-solder its connection to epistemology, which I barely retain has to do with what we can know.

Jackson’s paraphrase for epistemic hubris is “unwarranted certainty about complex policy issues.” She cites gun control as one such issue. That issue is common as dirt, which triggers three questions:

(1) Doesn’t every issue involve “policy” of some kind, private or public? (A policy of mine is to stifle a belch after sipping a fizzy beverage.)
(2) What’s an even thornier complex issue than gun control?
(3) What’s one non-complex issue about which certainty is warranted?

As I drove her home to Pecos from Odessa in the late ‘90s, my elderly aunt said to me, “I believe with all my heart that when the end times come every person who ever lived will be resurrected to judgment.” She was devout Church of Christ. I’m lapsed Disciple of Christ. Christ figured divergently in our lives, hers and mine.

Earlier that day my aunt and I had stood holding hands and weeping while her brother, my uncle, breathed his last in the hospital. Her affirmation came from out of the blue as the sere West Texas plains slipped past our silent selves on the empty highway. I nodded with a dutiful nephew’s noncommittal respectfulness.

The answers are: (1) Yes. (2) Life after death. (3) There is none.

(c) 2024 JMN — EthicalDative. All rights reserved

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Robert Andrew Parker (1927-2023): ‘Susceptibility to Happiness’

The artist and illustrator Robert Andrew Parker in 2017. He worked into his 90s even though his vision was diminished by macular degeneration. Credit… Leo Sorel. [New York Times caption]

What’s not to like about an artist-illustrator who partnered with poets and loved jazz? Parker played drums in a band called Jive by Five and is survived by five sons, all of whom play drums professionally. (One is an artist.)

“Robert Parker is one of the most accurate and at the same time most unliteral of painters,” [Marianne Moore] wrote in Arts magazine [1958]. “He combines the mystical and the actual, working both in an abstract and realistic way.” In praising a Parker watercolor of a dog, she added, “A cursive ease in the lines suggests a Rembrandt-like relish for the implement in hand; better yet, there is a look of emotion synonymous with susceptibility to happiness.”

Mr. Parker wrote and illustrated the 2008 children’s book “Piano Starts Here: The Young Art Tatum.” Credit… via Rachel Walls Fine Art. [New York Times caption]

(Richard Sandomir, “Robert Andrew Parker, 96, Dies; Prolific Magazine and Book Illustrator,” New York Times, 1-12-24)

(c) 2023 JMN — EthicalDative. All rights reserved

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‘Bare’ with Me: I’m of Two Minds

Untitled, oil on watercolor paper, 16 x 20 in. (JMN 2023).

Writer Charles Behlen told me that reading a poem could be like stepping off a plane into Madagascar when you thought your destination was Lubbock, Texas. Things would look different, he said. I took it as his way of chiding me for a cheeky chirp about his phraseology in a poem.

How did Behlen’s airy simile make me feel? Treated as if a clueless upstart. Infantilized. Mad as hell. When I mentioned I’d been reading Louise Glück’s collected work, Behlen returned the following (we were corresponding) about her effect on him: “I need more dirt on my potato.”

Notwithstanding the thin skin I bare above, I’ve kept Behlen’s remonstrance, along with his dirty potato, in my pipe for smoking along the way as I stutter-step my way through current verse. The quest is to do something directly with it — what verb do I want: Experience? Confront? Process? Interpret?

Oh God! Is this a kind of readerly populism that implies I’ve had enough of experts? That I want to meet the product head-on without the mediation of a poetry clergy? That I want to wallow in being a truculent (protestant?) outsider bent on getting to grips with “difficult” texts, going mano a mano with the word of dodgy deities?

Could be.

The most a haiku has fulfilled me is this one ending Ocean Vuong’s “Immigrant Haibun”:

Summer in the mind.
God opens his other eye:
two moons in the lake.

(from Night Sky with Exit Wounds, Copper Canyon Press, 2016)

Why? I feel bare and clueless in saying it, but: it’s because eyes are orbs, like the moon; two moons reflected in the lake seem fluky but possible in the physical world, and it seems more accomplished to make poetry from the plausible than from the fantastical. Also, who has two eyes? We do! I like the conceit of an ocular God with double peepers; support is lent to the intuition that man created God in man’s image, but also, since other creatures have two eyes as well, to the conclusion that God might just as soon look like a possum or a woman.

(c) 2024 JMN — EthicalDative. All rights reserved

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‘God, in the Form of Lightning’

Untitled, oil on watercolor paper, 16 x 20 in. (JMN 2023).

“Calling myself religious while living a life unbeholden to Scripture doesn’t make sense, of course.”

(Temim Fruchter)

Temim Fruchter’s essay about her spiritual evolution struck me, another scriptural expat, as full of poetry. I was moved to lift statements from the essay verbatim, in their order of occurrence, and put them down versiform. I hope her essay doesn’t feel unduly interfered with. Mine is only the interference.

GOD, IN THE FORM OF LIGHTNING
We wonder whether God, in the form of lightning, will strike.
Is there space for a whole past, or several, to coexist with so divergent a present?
I, for one, am crowded. Parts of me jostle noisily around.
I resent my practice. I defend it. I love it. I am a part of it, this half-practice, and it is a part of me.
And belief in God has made me, too. God, a relationship I can’t language.
God, the extra inches a room grows when we sing together.
All of the parts that created me are still here,
Jostling around, trying to make a cacophonous kind of sense.
And on the rare occasion when all the parts of me really sing?
Without fail, the room around me grows ever so slightly bigger.

(Temim Fruchter, “I Left My Faith. God Didn’t Flinch,” New York Times, 1-3-24)

The Times carries this biographical note: Temim Fruchter is the author of the forthcoming novel “City of Laughter.”

(c) 2024 JMN — EthicalDative. All rights reserved

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We’ve Dealt With Earth. Let’s Go Fix Mars

(c) 2023 JMN — EthicalDative. All rights reserved

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Choices the Chosen Cherish

I’m proud of the choice I made
to be squeezed from momma’s vagina
in the Hamptons and not old Carolina.

I’m proud that the daddy I chose
was several cuts above the rest,
fetching me the fortune sans the quest.

Proud I am of the me I’ve arrived at,
my private jet, my vessel’s girth;
but sternly must I not lose sight of that
acumen with which I planned my birth.

(c) 2023 JMN — EthicalDative. All rights reserved

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Message in a Bubble

Hola, H.

He aquí todo un poema de un tal Ben Okri que sale en la revista Poetry de diciembre 2023.

SEGOVIA
I walked your acueducts at dawn.
With giant legs they bestrode the landscape
Of the Moors. Stick insects. Like Romans
On stilts. Bearing water across the sky.

Ésta es mi traducción hecha para ti.

SEGOVIA
Yo pisaba tus acueductos al amanecer.
Con piernas de gigante montaban a horcajadas el paisaje
de los Moros. Bichos de palo. Como romanos
sobre zancos. Cargando agua através del cielo.

Éste es un diseño que hice. Monigote con gafas. Me gusta como logotipo de la empresa de fingirme <<pintor-poeta>>. ¡Jajaja! ¿Qué te parece?

¿Vas bien? ¡Un abrazo de avi!

(c) 2023 JMN — EthicalDative. All rights reserved

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‘Our Lady of the Westside” by Antonio López

“When Davis’s poems are poetry, they are powerful.”

(Langston Hughes, on Frank Marshall Davis)

I’ve no basis for discerning what’s verse and what’s poetry other than whether it jostles a personal needle. I compare a poetry moment (loosely) to another apex moment — that of collapsing into a sexual partner, wrapped in appendages and received. The comparison may be overheated, but what strikes me as important is that the text and I are intertwined. Its words have thrust us into close communion. I, a reader, want to be as nuclear to the poetry moment as the writer. They have sought me, and I them. There’s no need asserting that the poem which has induced me into vital congress with itself ought to be important to others having their own affair with verse. When a text that jumps my needle jumps yours, however, we’ve found common ground — something to crow about.

Life is so done and gone, so irretrievable when it leaves the body, so fucked. Perennial violent death is priced so religiously into human affairs that we’re scabbed over from it, psychically calloused by it, inured to it; nonetheless, a single instance concentrated and conveyed through artifice can still hurt like hell. Antonio López’s poem paints the tragedy of a young life snuffed out. Its demotic tone, liturgical parody and evocation of urban desert build to a close whose unruly full stop is at perfect pitch, piercing with dolor and incredulity.

[…]
Our altar, that art in EPA, hallow be thy pain, thy henny, thy Don Julio will be poured in dirt as it is in 7-Eleven, give us this day our daily Takis, our westside, our good morning, our good night, our boy back, please, his dreams, his age, 15, his name I pray, Inty, my God, you were hardly. A man.

(Antonio López, “Our Lady of the Westside,” in Poetry, December 2023)

Amen.

(c) 2023 JMN — EthicalDative. All rights reserved

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Poetry Isn’t About

I read verses that stir me,
but can’t remember what they said.
They don’t mean what they say,
they are what they say.
I read them again to be stirred;
they keep not meaning, only being,
leaving in my mind a memory
of being stirred by words.
Grasping them is grasping
slaking, thirsty water
sliding through my fingers,
aching to be drunk.
***

Afterword

Following is an excerpt from “Hot Milk Hissing in a Pot” by Li-Young Lee (“she” is the serpent):

She called me her bow,
and she bent and strung me.
She called me her arrow,
and she loosed me.
And I’m still speeding, quivering with her aim.

(Poem published in Poetry, December 2023)

(c) 2023 JMN — EthicalDative. All rights reserved

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