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(Tenured Radical)

Thursday, August 02, 2007

Charles Simic...

... a poet who ain't never done nothin' for UD, is the new poet laureate.

I never see any poetry in a Simic poem, any language that's beautiful or surprising or odd. His work seems to me short declarative sentences, propositional statements that toss domestic ordinariness in with suggestive surreality and hope for the best.

Sadder still, I never believe his poems. I mean, Simic doesn't seem to believe them. They seem exercises.

And tired ones. Lookee here:



Late September

The mail truck goes down the coast
Carrying a single letter.
At the end of a long pier
The bored seagull lifts a leg now and then
And forgets to put it down.
There is a menace in the air
Of tragedies in the making.

Last night you thought you heard television
In the house next door.
You were sure it was some new
Horror they were reporting.

So you went out to find out.
Barefoot, wearing just shorts.
It was only the sea sounding weary
After so many lifetimes
Of pretending to be rushing off somewhere
And never getting anywhere.

This morning, it felt like Sunday.
The heavens did their part
By casting no shadow along the boardwalk
Or the row of vacant cottages,
Among them a small church
With a dozen gray tombstones huddled close
As if they, too, had the shivers.



Look at that first stanza. The guy goes from a one-legged seagull to the grandiosity of tragedies in the making in a menacing world... So... I'm laughing at this point. Don't throw tragedy at me until you create the mood, buster. Foreplay matters. It's lazy to toss me two images -- a lonely mail truck toddling down the coast, and a forgetful bird -- and then shove that shit about tragedy in my face. I'm not ready.

The "Last night you heard" stanza is what I mean by poetry-free poetry. Take the lines out of poetic abbreviation and make them the straightforward prose that they are. There's no suspense in them, no haunted connotation. They're just blah.

"So you went out to find out." Why repeat out? Is it of verbal interest to do so? No. It's the same lazy redundancy Scathing Online Schoolmarm finds in so many of the prose pieces she analyzes... And then the weary sea, "rushing off somewhere/ And never getting anywhere." Same sense of laziness rather than intriguing echo in where and where in the last two lines.

Oh, and now we wind up, and we reach for something really big: religion. But nothing's been earned here - the solemnity of faith, the terror at the ominous vacuity of existence - these are among the grandest themes of the greatest art. Here, they're sketched in a gesture so superficial as to be a form of contempt:

...a small church
With a dozen gray tombstones huddled close
As if they, too, had the shivers.

Huddled. Hard to think of a more predictable word.

You want creepy? Here.


Friday Night at the Royal Station Hotel

Light spreads darkly downwards from the high
Clusters of lights over empty chairs
That face each other, coloured differently.
Through open doors, the dining-room declares
A larger loneliness of knives and glass
And silence laid like carpet. A porter reads
An unsold evening paper. Hours pass,
And all the salesmen have gone back to Leeds,
Leaving full ashtrays in the Conference Room.

In shoeless corridors, the lights burn. How
Isolated, like a fort, it is -
The headed paper, made for writing home
(If home existed) letters of exile: Now
Night comes on. Waves fold behind villages.


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