Koans and Spuds

Thomas Meyer
Essay Stanzas

The opening section is “Caught Between” and it is in this space that reversals are marshalled like fables and puzzles.

My shadow, I used to think,
backed me up from behind.
Now I realize
I am my shadow’s human shield.

A change of perspective is also at work later in the sequence. Albeit in a less existential fashion.

Noticing that
the money man used potatoes to weigh gold
the silly wife urged her husband to plant a crop
then noticing that
they tasted better than gold
she suddenly found herself
completely satisfied.

Gives new meaning to the name “Yukon Gold” a Canadian creation with a history to treasure.

And so for day 1482
03.01.2011

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Recollecting Recounting

Stop me if you have heard this one before.

How comes it that our memories are good enough to retain even the minutest details of what has befallen us, but not to recollect how many times we have recounted them to the same person?

from La Rochefoucauld Maxims translated by Leonard Tancock.

Shinkichi Takahashi has a splendid epithet in one of his Zen poems which reminds me so much of the brittle wit of La Rochefoucauld: “the moralist’s porcelain nobility”.

Some may call it deception, evasion, / Others scorn it as the moralist’s porcelain nobility

And so for day 1481
02.01.2011

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In Praise of Poaching

Penguin has put a series of little books under the rubric Great Food. One of the volumes (A Taste of the Sun) is a collection of pieces by the incomparable Elizabeth David who did so much to introduce postwar Great Britain to Mediterranean cooking. Of course there is an Italian section. She has this to say in her introduction to fish soups:

[T]hose smoked or frozen cod fillets which are sometimes the only alternative in the fishmongers’ to expensive sole or lobster respond better to a bath of aromatic tomato and lemon flavoured broth than a blanket of flour and breadcrumbs

Then she goes with all sorts of instructions about how to prepare such a broth.

I think of you stealing time to be at peace in your kitchen with your nose inhaling all the goodness of such an aromatic bath.

And so for day 1480
01.01.2011

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Regressions and Leaping

Helen Humphreys “Postscript” in the “Souvenirs” section of Nuns Looking Anxious Listening to Radios — these are the concluding words pointing to an event or space beyond words…

When language has abandoned us
and we can say
perhaps just one thing
that will be understood,
what do we choose
to say of ourselves?

What sound will tell
of who we are?

Let us travel beyond the border of what may be communicated with or without language to the ever present nothingness. This is the telling sound of who we are.

Ants

Nothing exists, yet fascinating
The ants scurrying in moonlight.

It is the eye deceives:
The ants—they are but moonlight.

The idea of being’s impossible:
There’s neither moon nor ants.

Shinkichi Takahashi Afterimages: Zen Poems translated by Lucien Stryk and Takashi Ikemoto.

And so for day 1479
31.12.2010

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PRODiGiOUS

BIG, BIGGER, BIGGEST.

prodigious
adjective
prodigious quantities of food: enormous, huge, colossal, immense, vast, great, massive, gigantic, mammoth, tremendous, inordinate, monumental; amazing, astonishing, astounding, staggering, stunning, remarkable, phenomenal, terrific, miraculous, impressive, striking, startling, sensational, spectacular, extraordinary, exceptional, breathtaking, incredible; informal humongous, stupendous, fantastic, fabulous, mega, awesome, ginormous; literary wondrous. ANTONYMS small, unexceptional.

from Oxford American Writer’s Thesaurus

Some modesty in a well-turned epigram:

for as lavish prodigality is brutish, so miserable covetousness is hellish.

This reads as a nice and succinct motto for which to guide oneself. Our author, Gevase Markham, uses it to close an extensive period.

She must be temperate.

Next unto this sanctity and holiness of life, it is meet that our English housewife be a woman of great modesty and temperance as well inwardly as outwardly: inwardly, as in her behaviour and carriage towards her husband, wherein she shall shun all violence of rage, passion, and humour, coveting less to direct than to be directed, appearing ever unto him pleasant, amiable, and delightful; and though occasion, mishaps, or the misgovernment of his will may induce her to contrary thoughts, yet virtuously to suppress them, and with a mild sufferance rather to call him home from his error, than with the strength of anger to abate the least spark of his evil, calling into her mind that evil and uncomely language is deformed though uttered even to servants, but most monstrous and ugly when it appears before the presence of a husband: outwardly, as in her apparel and diet, both which she shall proportion according to the competency of her husband’s estate and calling, making her circle rather strait than large, for it is a rule if we extend to the uttermost we take away increase, if we go a hair breadth beyond we enter into consumption, but if we preserve any part, we build strong forts against the adversities of fortune, provided that such preservation be honest and conscionable; for as lavish prodigality is brutish, so miserable covetousness is hellish.

A prodigious set of instructions from Gervase Makham The Well-Kept Kitchen Penguin Great Food series — excerpts from The English Housewife (1615)

And so for day 1478
30.12.2010

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Postcolonial Posey

Take the ending of “I Wandered Lonely as a Cloud” by William Wordsworth

For oft when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude,
And then my heart with pleasure fills,
And dances with the Daffodils.

Recall the foreignness of the flower and the impositions of empire when verbally transplanted to tropical shores.

J. Edward Chamberlain “Dances with Daffodils: Wordsworth and the Postcolonial Cannon” [in Canon Vs. Culture: Reflections on the Current Debate edited by Jan Groak]

Nobody in England much liked Wordsworth’s Daffodil poem (as he occasionally called it) when it first appeared, and nearly two hundred years later, nobody much likes it still, certainly nobody with post-colonial credentials, and yet there are few poems in the English language as familiar. Most people who know any poetry at all can recite some of its lines; and there are a lot of poets would love to write as unlikable a poem as that.

See how these preoccupations travel through Julie Joosten Light Light from BookThug.

the light losing our words

Once in a filed of abandoned hives.

Once with my eyes I, ghostly, felt a river dry to clay, lay quiet beneath a blank sky.

Once there was a field, a river, there were mountains. I saw reflections like phantoms, a surface of forgotten water, said take the curve of a daffodil

bending toward snow, but leave the field.

They took nothing, left a memory of river, wild raspberry, and honey.

The poem seems to close in on itself with a return to the hive-honey connection. And the reader experiences an expansion of the palette through an appeal to the sense of taste and smell. Unlike the canonical press of “ten thousand dancing in the breeze” we have the minimalism of the curve of a single daffodil image jumping the stanza to bend towards snow. But the poem sequence will metaphorically stomp on…

the light gentles the daffodil upward

honours daffodils broken from the stem, daffodils frozen before
flowering, daffodils stepped on, driven over, eaten, ignored

honours days without light, ground without water, plants that flower
too early and those that flower too late, bulbs that never sprout

and light at different angles touching other grounds.

writerly ecology honoured mud-splattered trampled

And so for day 1477
29.12.2010

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Forgot Begot

reconstructions: gathering sparkling lines

Julie Joosten
Light Light

A slip — an epithet binding —

I debt unsung

fragile and yet strong

life ventures on a thread of song

song cancelling out debt

I didn’t know who I was or where I was. The wonderful calm of forgetfulness. Each time I recall it there is nothing to compare it to. Remembering forgetting as an incomparable delight and calm.

the incomparable but not unfulfilled

And so for day 1476
28.12.2010

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Hartshorn

Penguin has a series called Great Food in which is Gervase Markham The Well-Kept Kitchen which is collection of excerpts from The English Housewife (1615).

Advice is dispensed on keeping the kitchen garden.

In February, the new of the moon, she may sow spike, garlic, borage, bugloss, chervil, coriander, gourds, cresses, marjoram […] The moon old, sow holy thistle, cole cabbage, white cole, green cole, cucumbers, hartshorn, dyer’s grain, cabbage-lettuce, melons, onions, parsnips, lark-heal, burnet, and leeks.

If the reader were to rely upon the Glossary one would be perplexed because :”hartshorn” is given as “the horn or antler of a a hart or wild deer”. Used as a leavening agent as exemplified in the other instances of the occurrence of the word in the recipes. So what is this “hartshorn” that grows in the garden?

In the McGill-Queen’s University Press edition, Michael R. Best gives one the following gloss:

A name given to several wild plants, most commonly Plantago coronopus, hartshorn plantain; the mystery as to why such a plant should be cultivated in the housewife’s garden is solved by reference to Markham’s source. In Maison Ruistique the plant is “corne de boeuf”; hartshorn is given by Cotgrave (1611) as the translation of “corne de cerf.” “Corne boeuf” is translated by the more probable “herb fenugreek.”

And ever faithful Wikipedia gives (bringing one away from fenugreek and back towards plantain)…

Le plantain corne de cerf (Plantago coronopus) encore appelé pied de corbeau ou plantain corne de bœuf est une plante de la famille des Plantaginacées.

Son nom lui vient de la forme de ses feuilles.

Which leaves find their way into salad: Rediscovered Salad Green: Buckshorn Plantain. By William Woys Weaver, Mother Earth News, April/May 2007.

The succulent, crunchy leaves are best when harvested young, and taste a little like parsley, spinach or kale, but sweeter and nuttier. The flavor is best before the plant begins to flower.

Does sound enticing.

And so for day 1475
27.12.2010

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Homophonics

What we eat, we are… I found this one. Envious that I did not invent it.

oat of elegance
for
oath of allegiance



This intralinguistic homophonic translation reminds me of these interlinguistic examples:
Mots D’Heures: Gousses, Rames: The D’Antin Manuscripts
Guillaume Chequespierre and the Oise Salon
Morder Guss Reims: The Gustav Leberwurst Manuscript
N’Heures Souris Rames: The Coucy Castle Manuscript

There is in the higher brow atmosphere:
Louis et Celia Zukofsky, Catullus
bpNichol, Translating Translating Apollinaire
Robert Kelly, Celan

And other examples provided by Charles Bernstein in a listing of “experiments” on the Electronic Poetry Center WWW site, all of the utmost haute élégance..

And so for day 1474
26.12.2010

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Old Words and Ancient Smells

Robert Kelly on old words: “They store the power of long attention to things in the world” (introduction to Thomas Meyer The Umbrella of Aesculapius).

Maybe this is a bit of what led him to those reflections

Sun & wind
      the smell, estragon, of another country
& the field
      spread with shit

The leafy greenness of tarragon is evoked — a scent really only released in close up – gives way to the ripe earthiness of manured fields. A circle of life and decay is honoured.

And so for day 1473
25.12.2010

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