Saturday, June 15, 2019

The Return

Last night's flight from Hilo was full of local folks: husband and wife and four kids in front of me, one in a Pauahi teeshirt, pink; an older man with working hands beside me, snoozing behind his white mustache; a large woman in ALOHA cap next to him, surfing the internet during take-off; three Pacific Islanders wearing black formal jackets over their tapa cloth and lavalava, the youngest one playing a patched up guitar against the airport music (Hawaiian) in Hilo. Local pilot smiled at us on our way out.

Jon brings up Thoreau's age. The exquisite prose (I won't say pose) of a young man. To imagine him at 70, perhaps dependent on his neighbors, unable to cut out stumps and drag them home; less interested in capturing a bird than in listening to it where it sits. Maybe gazing out from the window seat at the curve of Maui, stitched in lights, then Honolulu far away, gaining on us.

An electrician yelled at M about how horrible Asians are, told her to go back to Thailand, Taiwan, wherever. This in Mānoa. In the old paintings it's bare of anything but pig farms; now the aging homes shelter a population of local Japanese and UH faculty from the outside.

Tim says a woman in the Minneapolis airport told her sons that the Big Island is rural, but that Oahu is full of Asians. Just telling it like it is, she told them, when he stared. He thinks there are a lot of white people in Minnesota. Just the way it is.

Another shooting, this time in a California Costco. The newspaper article reads like a poetry experiment. "Say in what aisle of the store the violence occurred and cue the soundscape." Argument near the freezer section. Man with Mohawk fired at least six times. One woman heard the shots from the meat section, where she and her daughter were buying steaks for Father's Day. Another thought the shots were shattering wine bottles in the liquor section. I can trace the route through the Costco embedded in my mind. "It's like one video game." Strewn behind were backpacks and cell phones.

The movie added nothing new, my friend said of Across the Universe, or what an unhappy reviewer described as a "glorification of hippies." History stays in place, but the film renders it as style, a plot constructed of songs that shaped that history. Like The Death of Stalin, the film skips tones like an old record; tragic to absurd, joyous to glum. Let us listen on repeat, like yesterday's ball-game on the not-so-streaming internet, full of rocks and eddies, occasional errors.

Stalin bends his finger and another minister disappears from the screen. We call it "cancelling," a version of "disappearing" that at least forgoes the death penalty. It's more a stage than a stadium where we keep our guilty parties. Whether they know or not we put them there. The farmer's market offers some old tomatoes, and there's a paint store down the street. We hurl vegetable and noise at them, vow never to speak again. And so we exit into the quiet night street of an old European village, cobblestones accumulating light, a cafe bustling two roads over. No, there's no such thing as silence, but there is the attempt. You will never walk down this hall again and be greeted by a human voice.

Because we cannot find the truth, we utter warnings. A rumor of a rumor gathers moss and rust and taint. A gavel falls (tell Pelosi how to do it, Mr. P!) and we lock her or him up in their own bent narrative structures. Prison bars offer no spirits.

A woman asks her teen daughter if she wants to sit on the cement bench beside the airport's outer island terminal curb. Her daughter, who so resembles her, has cried off and on during the flight; she leans against her mother, whose face is drawn. She does not want to sit. She cries through an open mouth. My son arrives to pick me up.

If a pronoun is true, you can sin against it.
If a racial identity is true, you can sin against it.
If sin is true, you might sin against it.

In an era when ethics has shed its definition like a snake its skin, we judge each other by the highest standards we can invent. One day there's no collusion, and then the next there's a desire for more collusion. One day there's open obstruction of justice, and the next there's more. But our sentences come with underlined gaps in them. Fill in a word, any word, that might fit grammatically. Not that grammar offers a sense of what might be true, but what might work as a sentence. Why people hate John Ashbery, except he skated across the ice, pushing his puck in grand loops, rather than shooting a man in the freezer section and then delighting in the stage set.

And I do delight in it, in a way that makes me feel cruel. As the journalist must have done, tracing the arc of the crime against a map of that Costco, which is any Costco. At least the vitamin aisle didn't come in for mention, or the socks and books aisle. Next year, a memoir of meat will appear, or what we saw when we went to buy steaks.

I forget why the journalist came to our door, but my mother appeared in the article dressed in a caftan. Of henna hackles halt came later, as she entered the poetic stream. She was metaphor for the suburban housewife, comfortable in her foyer and other French-sounding words. (Her French was terrible. One time people asked her directions in France and she dithered her way through them in broken syntax, terrible accent. After they drove away, she realized they had asked in English.)

If they're not ghosts in the attic, they're rats. A peculiar haunting. We heard a loud thump on the roof and Bryant saw a hapu`u palm frond waving beside the cottage. I called out for a cat, on the off-chance it was one, and would answer to me. Voice is gesture, is where I throw my words in a rain forest.

Brian sends me a chapter, partly on Ashbery, from Berlant's Cruel Optimism. My optimism that the critique responds to the poem is perhaps cruel; I so want call and response to join at a perfect seam, and explication. I love them both, the poem and the critique, but I cannot forge a more perfect union of them. If I leave theory behind entirely, will my life be more difficult than if I remain with theory and feel discomfort? Which loss cancels the other out? Early trauma forgotten except as appetite or self-indictment or the kind of PTSD that comes on in response to the acronym.

Let my art be evasion. I don't want my spilled wine to sound like gunfire, or the freezer section to represent a frozen soul, or the meat section to mirror a man's cold flesh. One to one correspondences commit violence on both sides. Let me say that wine flowed from the water aisle and we made a belief system of it.

Friday, June 14, 2019

There's an "I" in Transcendentalist

Last night I texted our friend down the street to express my condolences over his Golden State Warriors' loss, of game, of Finals, of an Achilles and a knee. He texted back to say he got home after watching the game to find that his neighbor was dead.

This was not the neighbor with emergency orange netting for a gate, two geese and a huge pick-up truck. Or an ancient Chevy station wagon that sits under a tarp. That neighbor has an Amish beard and wears a hard furrow between his eyes. Sold cocaine on Oahu, he'd told our friend, then flew here on a private plane, lives in a friend's renovated shack. He's cut back the ferns, so his landscape is dirt and plastic toys. A trampoline fills much of the backyard, if that is what it is. He's a family man, but he'll kill your cat if he doesn't like you.

"Common name: häpu‘u, häpu‘u pulu, Hawaiian tree fern Habitat Häpu‘u is native to most of the Hawaiian islands. It is one of more than 800 species of tree ferns, descendants of prehistoric vegetation found worldwide in semi-wet to wet forests from sea level to over 5000 ft elevation."

"It [the fern] is a fabulous, mythological form, such as prevailed when the earth and air and water were inhabited by those extinct fossil creatures that we find." (HDT, Journals)  The hapu`u fern is far more rare just two miles down Highway 11; here it fills the middle canopy with light and sound shadow. The hapu`u grows slowly, is endangered by development. Fiddleheads cluster together, like members of a standing committee who've fallen silent, pulu like ostrich feathers. Or like sea horses, stranded in the rain forest.

Perverse transcendentalist, our survivalist neighbor. American transcendentalism at the end of a gun or a threat.

Transcendentalism requires a container: Thoreau's cabin, Dickinson's attic room. This guy's shack, covered with NO TRESPASSING signs, a self-constructed cell. He wants his language to act; KEEP OUT is as literal as you get. Trump says Nancy Pelosi is a fascist. Now there's a poetic ruen of the word.

The ferns turn sunlight inside out, as if lit from below. The rain forest seems an inversion in the daylight, but clouds return it to mist and no-shadow. There is no doubling when the sky is clouded over, only singularity, if you can see it. A weed whacker screams through the forest from Haunani Road (I think), cutting holes in bird song. Bryant contrived a cone out of a plastic cutting board, installing it around wires that lead to the roof. The space between the tin roof and the plastic ceiling is a regular rat highway, he says. Puts chicken wire over holes in the kitchen (a banana was partially eaten the other night). I fail to feel an appropriate disgust, though I hardly want to share my space with rodents. Some evenings, a neighborhood cat leaps on the roof, all cement paws, paces up and back and then is gone.

In the forest there is so much you cannot see. It's a good place for those of us who favor our ears, whose sense of space is the distance between a patch of wind, an `apanane's song, and the now diminishing weed whacker (just elevated in decibels and pitch, alas). As if a museum were to provide obstacles to seeing art, asking the viewer to piece together each image through the sounds of conversation and echoes of feet. Thoreau hated museums, their fixity, their isolation. I found a Monet cathedral in the back of a museum in Belgrade. I wanted to ask, "What are you doing here?" It might have asked me the same.

I pull out a brochure at the Arts Center that advertises a "Captain Cook dinner cruise." Inside, we read about how little we know of the man. We read that he died in Kealakekua Bay, that he was a discoverer. And then we see photos of Duke Kahanomoku, with the phrase "History is fun!" attached. Captain Cook did die here, but we're not told why or how. I tell the predictable cannibal joke, and my "cousin" doesn't get it. She invited us to family dinner for father's day.

Bryant taps the wooden end of a broomstick against the ceiling. He heard a rat in there somewhere. Draws the broomstick across the crenellated ceiling. Outside, the sky is cerulean through gaps in the hapu`u and `ohia. Drone of engine and trill of cricket. The roof talks, even when it's not prompted by bird or rat. I'm unsure of its language of gesture. But now I hear the guard goose calling down the loop. Honking time.

Just past the dead man's house, someone put up an American flag. I think it a symbol, until from my bike I see flags all over the Village. The road in front of his house turns into a huge puddle when it rains. Beside the puddle, a hapu`u fern leans out over the water, its fronds erect in the early morning light.

Thursday, June 13, 2019

Rats in the vatic

She had a strange question, she said. A few years ago, they'd been at this lookout on Devastation Trail and met a couple with bikes. They'd ride up here every morning. She paused. "Are you those people?"

Her husband, the one with the long lens, the long pony tail and the tie-dyed shirt, was disappointed at how much of the park is still closed, by the lack of lava crossing the bottom of Chain of Craters Road. To the side, his wife tells me she disagrees with him. To be in geological time. He says they have more privacy here than they do with their teens. He says they have to leave.

Kaiser sends an email advising "forest bathing." It has nothing to do with water.

Dead hapu`u fronds turn bronze in sunlight; they are as beautiful as the green. Wind in the o`hia does not fill the soundscape, but moves through it, as if from speaker to speaker. The metaphor that equates the natural world with the man-made seems to go only one way. I do not say the speakers resemble alternating ferns, or even a forest-box of `apapane.

Thoreau grieved for the tree; kidnapped turtle eggs and owl to measure them; hated his fellow citizens for their ordinary pursuits of a livelihood. For whom a turtle was potential pay-day. At the Maui Aquarium, soccer dads talked about how to catch the fish, what they tasted like. American pragmatism and transcendentalism make for a rip-tide.

A pink tow truck of trucks rammed 11 cars yesterday on the Likelike to Kahekili on-ramp. The driver was said to have been on her cell phone before the crash. At the front, a turquoise solar truck struck down to the size of a two-seater motorcycle.

I bemoan my tendency toward the vatic; Brian tells me I've already been there. Alternator current between flash fact and meaning. His attachment to meaning means he stopped reading Ashbery in the early 1990s. Peel it away like a sticker from a carton of eggs, put there so they don't hatch in the car. My daughter would not find that funny.

"In a journal," Thoreau writes in his, "it is important in a few words to describe the weather, or character of the day, as it affects our feelings. That which was so important at the time cannot be unimportant to remember." Near the end, Saijo noted the weather several times each day in his notebook. The weather had weathered his feelings, worn them down like a river stone.  His cabin has been painted and protected with a large overhang; the tall trees out back were cut down and the neighboring lot cleared, except for an old chimney. No structure should outlive its maker, and this one did, only to be "renovated." The better to rent it out.

Our neighbor goes to the store before other people arrive. He rides his bike to the park before the tourists enter. He works all day, alone, on his ceramics. But venture over to see his work and he'll talk for an hour. Thinks he might want to see Machu Piccu "before it's too late."

Bryant has gone to the hardware store in Kea`au to get chicken wire. He will fill the holes in the cottage where rats can waltz in. A cat down the road scampers over the roof once a day. It's a sound system, but hard to get the balance right.

For most of this trip, I've not missed music or the news of the day. He'd collude again and again, if he got something he wanted of it. But I watched the seventh game of the Stanley Cup on my iPhone. You don't see the puck, but you follow the surge of skaters around it. I've watched Taresenko's pass to Shen a dozen times. My daughter's cross in front of the net, pushed in by her teammate.

"Perception itself is never finished." (MP) Ride far enough on your bicycle in the park and there is nothing else. Language trails perception, lives in a higher gear. Language works through gesture to re-convene the world at the moment of perception, though it's more diorama than pan-.

Meaning emerges as distance. The nene do fly over the caldera in the morning light, though signs alert us to their road crossings. We must laugh at the line about how "gay people control the weather," including recent tornadoes in the Midwest. If they control the weather, who controls their conspiracy theories? The academy hates a life of the spirit, but uses it to make political points on behalf of those whose culture ought not to be appropriated. A double-appropriation equals the neutral zone play of the Blues, who made center ice a nearly impassible "swamp." "We" can speak for "them" if we parrot their reverence.

The lama told a profane story about pissing. Westerners were horrified. What does pissing have to do with enlightenment? He never told such stories again; even in translation they seemed incomprehensible. My hard-of-hearing aunt loved him. She wondered what all the lava here "was good for."

Memory's exigencies fail here. Events come pre-shorn of affect. At least for now.

Sunday, June 9, 2019

Ordinary earthquakes

Where earthquakes were the "ordinary" the house has settled, aside from the rats. Last night they dragged something into the space above my bed; I thought I heard them eating. Squeak, beep, my friend said on her answering machine. No! It was beep, speak.

Squeak. What I thought an endemic `amakihi may have been a saffron finch, I'm told by Joe in Kansas.

Yesterday, I walked behind a large red earth mover at the curve of a road the other side of Wright. Negotiated my way past a triangular warning sign and squatted amid the brown palm fronds. I peed. Not six inches away from me were two neat rows of solid teeth, a skull mixed in with the dead fronds. Narrow jaw, a boar. Back near the street a femur and other scattered bones. The pee spot, making waves: Radhika at three in Kathmandu in the concrete rubble of a construction site.

The ordinary re-invents itself in context. Already the morning clouds move in, darkening the room. Must we be readers of poetry sitting in chairs in forest rooms to avoid the nation's criminal enterprise? His friend is in solitary, wants to go back to Arizona where he can take prison classes. He killed an autistic arsonist there, after causing the "accidental" death of a college professor in Waikiki. "He's a good guy," my friend says, then rolls his eyes at himself. It's complicated. He writes poems in old-fashioned cursive. They rhyme. They lament. They are still the poems of a man in prison in solitary, though they might be those of a young woman in intro to poetry.

Solitude is balm or solitude is nerves. Noise to silence ratio. If noise is what we make, then what of the rats' squeaking, dragging, in their attic cafe. The famous chef played heavy metal music in his restaurant. "It's like being in his home," the waiter said. "Do I have to pay for my meal in his house?" my friend's wife demanded to know.

From his watchtower down the mountain a bit, he could see three orange glows last year: Kilauaea, Pu`u O`o, Fissure 8. In spring the `ohia render the forest red with their blossoms. Pigs rut in his back yard; he'll need to fence it, but not until next year. He says he watches a lot of movies up here and listens to Eckhart Tolle on the now. Grimaces when he mentions the neighbors, though what he hadn't imagined when he built the house is that you cannot see them.

The "trespassers will be shot" sign is still down my street, but it's bleached in the sun. NO TRESPASSING still rings out its orange warning. Wear orange to protest gun violence. Or not.

I wonder if my friend believes his friend in solitary. My friend lives in solitary, too, but he has an altar to Buddha and leaves late afternoons to hike in the park. Solitude causes psychosis, when it doesn't give you American transcendentalism. The current version of which is psychosis: Mexico gave into a threat weeks before it was made, and Mars is part of the moon. Don't give up on western logic, Jon tells me, but I wonder what's left of it. You can read Hegel in your cottage but once you turn on the radio, all bets are off. Hegel in Vegas would be a formidable thing.

To pay attention is not to pay off a mortgage or to pay to play. I must hit a button to pay my debts. Reparations, repair. To attend is to stitch back together. Not the violence of collage but something more gentle, like the hem of a cloak. Slow cinema. Watch hand thread needle pierce cloth pull up the thread and attach. Not cling.

As a child, he clung to us. Needs "moments of happiness" that self-destruct. Needs what cannot be given. The Dalai Lama says you cannot lose your ego unless it's healed. I cannot find the recipe on-line. No YouTube to tell me how to take the moist gardenia flower and plant it inside his chest. The blossom has no narrative on this cool morning. I saw a cat down the road the other day. Looked briefly at my boots. When I shifted my gaze back, it was gone.

"You need a cat for your cottage."

Saturday, June 8, 2019

House rats

The night before last I found my package of English muffins on the floor, wondered if I'd knocked them down while washing dishes. This morning muffins (one fewer than before) were on the floor, still in their plastic bag, mostly eaten. Every night, the ceiling provides a cacophony of scuttling and squeaks. A larger animal was on the roof last evening over the fire stove; first thought, "earthquake."

"I omit the unusual--the hurricanes and earthquakes--and describe the common." Thoreau.

Thoreau asks why we have ever slandered "the outward." He refers to "the miracle" of perceiving surfaces "to a sane sense." The surface has little plot, little narrative arc, fails at story-making. Buddhist stories are about narrative failure; she imagined an outcome and it proved to be #fakenews. Yet the vehicle of the non-story has a plot, and we don't fail to believe the narrator.

Sounds: the apapane chitter; distant drone of an engine (small to my perspective on the porch); dogs; the goose down the road. The woman whose goose it is misunderstood my introduction of myself to be a request for trimmings. She was folded in on herself, garlanded in loose skin. Car on Haunani Road, through the forest behind the cottage.

I saw the survivalist with the HUNGRY DIESEL truck at the Volcano Store two days ago. "Trespassers will be shot; survivors will be shot again," read the sign that is no longer on his gate post. But a bright orange mesh now connects trees in front of his drive. Cache of toys scattered in front of his renovated shack. Two geese lie on the drive, eye to eye. He has out-sourced his attitude. Threw me side-eye as I looked at him.

"Rats climb trees, eat eggs, and prey on nestlings and adult birds. They are considered a leading cause of the accelerated decline and extirpation of endemic Hawaiian forest birds and a major factor limiting present populations of endangered birds."

What grounds us proves most fragile: the birds, the `ohia, the crumbling stairs to the old bathhouse, the weather, the crumbling soil, moss on lava rock.

And there is the orange cat from down the road, staring at my roof and me! I should invite him in, but he's wandered into the forest now, off the stage between dilapidated stairs. Cats kill rats and cats kill birds and rats kill birds. Which death dealer shall I favor?

There is no inward without outward (unless you're young). But the gap between them is like the gap between word-sound and word-meaning. Mind the gap.

"Like language, painting at first lives in the milieu of the exterior holy." Merleau-Ponty

Caroline and I talk about what to make of limited time: she counts to ten now, and I to 28. But the counting is prospect, an imagined space. Rats die in the spaces between walls, and then they stink. Bryant wants to avoid that. No poison, just traps and cones of shame around the wires that lead to the house. He thinks about emotions this way: given depression and confusion, how can we cut a path. A dog barks more loudly.

The first goose down the road barks. One of the old women wrote a letter to the editor to say she wants no visitors, no tourists, no one aside from the residents of Volcano. Stop advertising us, she insisted. "But you'd never find her," my friend said as we drove past.

"Try random things until they work."


Merleau-Ponty, The Prose of the World; Thoreau, Journals

Friday, June 7, 2019

MAGA and the blank sign

Walking between the Old Volcano Store and Volcano Arts Center, I crossed paths with an older white man wearing a dingy blue cap. As we got close, he smiled, and I noticed MAGA stitched on his hat. I asked if it was really a MAGA cap and he chuckled. "The clouds are coming in," he said, pointing behind me.

I looked behind me. Clouds. Then wondered if he'd told me about clouds before or after I asked about his MAGA cap, oddly blue. That would be a different story, if he'd said "clouds" first.

Cause and effect after the fact. One version cause, the other version effect, or affect.

After I read from my memory cards, a history professor asked why, if I believe in randomness, I date each poem. Where historical time transects present time, there's a date on chance operations. But not operations exactly, as there are none where none intended.

"It [speech] is rather a profound connivance of time with itself." MP.

Off Maile, I saw a gate beside the road near a forest preserve. The gate was locked; sturdy metal fencing enclosed an area we assume to be free of pigs. A sign hung from the tree beside the gate. It had bleached completely white.

Early Monday morning, after the weekend's Commencement exercises, runners found the body of a young man hanging at Ching Field. His parents had come for his law school graduation. As he was not a student, Honolulu police were called in to investigate.

This place is half rhyme. Fern, bird. Hapu`u, `apapane.

In Columbo we see the murder first. The drama is in the figuring out. Figurer, to solve by imagining. Having used that verb in a train in Nantes once, I now suspect it more literary than spoken. Figure and ground, where ground is distance and figure leans out of its penciled lines as if to greet you. Bonjour, smudge.

So the mystery is in how, not who. "Students only like to write about themselves now," a colleague said, not wanting the sentence to go public. And so we leave behind our documents, our vestiges, our unbearable objects. I am not my toothbrush, am instead a more fluid dentifrice.

In the film, a young man takes a vow of silence for one full year. He pushes his tent and his water in front of him, down highways and over bridges on three wheels. The silence is all his. He writes notes on pads, orders a sandwich with a piece of paper. We learn about him through the film's voice-over. He's from New Hampshire. At the end, we see him beforehand. He speaks eloquently about not speaking.

The fragment is not an end, because there is no end. It's not a means, because there are no means to no end.

The ferns and the birds cleanse, though they do not purify. Purity is violence, is lodging official complaint that the professor used the incorrect pronoun, or that she (or he?) said something racist. We make the bed we sleep in, then oblige the others to watch. The apapane sings from inside my skull; the fern gently scratches my eyeballs with its reflected light. This is not to make of my solitude an empire, but to pull away the mean spirits that insinuate their way in. Bryant means to put cones of shame on the wires, the better to disinvite rats into our attic space.

According to Paulhan, as quoted by Merleau-Ponty, language is composed of "gestures which are not accomplished without some negligence." What we neglect is meaning. Becomes it. As a hat becomes you, or marks you as a supporter of the Right.

To pursue something we call wisdom without pronouncing it as a set of rules. Bird song and helicopter noise impinge, each on the other, as did someone's house alarm as I walked past Saijo's old place and around the corner to home. The bar's sign reads "whisper only," but it is not blank. Two men sit side by side drinking. They lean into each other's ear space, lips tracing out their speech.

Write everything you know. But if you only know how to look for it, you can only add one more line onto the page, making a stool from two embracing tree trunks. The chimpanzee will not recognize them both, but knows what to do with them each. One is for climbing and the other for sitting. But only if you draw him into the scene.

--Quotations from The Prose of the World, by Merleau-Ponty.

Thursday, June 6, 2019

On forgiveness

On, as in "about," as in not "in the area of" but "concerning," not immediately as a "taking care" but moving toward care, if care is to be read as rebound.

To forgive is a transitive verb, but not a transitory one. Not to say "that was ok," but to say "I will no longer be shadowed by your act." Or I will shrink that shadow down to the size of a pin from the giant who walks beside me, tongue visible on the sidewalk. Tin of tongue, Rod wrote about. What does it mean to put the mechanics of voice into a tin and close it? To open the tin with the metal circle that unfolds to reveal a silent tongue?

The French philosopher with a Russian name, was it, argues that forgiveness can only be arbitrary and sudden. She held her anger for 60 years. But that was not transitive on her part. The anger sat in her like a green-slimed monster (but not visible as such) until it broke. The lamp beside my bed broke last night, crashing to the floor after I closed my book. More powerful as coherent glass, or as broken? Broken anger alerts us to its sharp edges, the better to avoid them.

"I forgive him," the black woman said of the young man who killed nine parishioners in Charleston.

That's a mystery that no episode of Columbo can solve. When Bryant texted me about watching Columbo, it came out, "we are watching Columbine." How we arrive at it, if forgiveness can be referred to as object.

The woman who saw her colleague molesting the boy said nothing. The boy who saw his brother being raped and said nothing before forgetting it had happened. Forget and forgive are positives. To get or to give. To give life to or to give the hurt away. For is a directive; get and give are right action. So why do we refuse?

To be 60 is to begin to see the open field. I can avert my eyes from him or from her and see the trees ahead. In Oregon I stood beside a giant tree and experienced a feeling of awe. The tree split me open. It seemed old and kind.

So that forgiveness is neither good nor bad, but occurs to you or to me. "Occurs to me" is a thought or an action, non-transitive, like "attending" instead of "paying attention." I know it is possible, but I do not put my nose out and hunt for it in the deep grass. The birds come to me on mornings like this as sound; I cannot see them in the canopy. To bird watch is not to stalk but to accept their volition and their fly-bys, when they come.

The preposition is a proposition: a way of thinking through. The lava tube in the park is still closed, but offers a model of getting through. We pass through time, as if it were still and we the movers. Or perhaps it passes through us like water in a cool climate.

It is the process that seems difficult, no matter the size of the offense. As in perspective painting, the smaller objects are farther away, but that's a fiction we create to render space flat. The Cambodian village needed workers, so the former Khmer Rouge tilled fields beside family members of those they'd killed. Is that forgiveness or something more basic, like hunger? Can hunger lend us forgiveness, forgiveness fill us with its "moment of happiness" a burger brings?

Forgiveness as nutritive: there are the bad calories and the good. Again, try to cut down on the judgment intake. The teen is so obsessed with being the best that he cannot leave his room. The therapist oddly counsels giving him back his cell phone. Any connection is a good one.

What is said here will not be repeated outside the room. That's where abstraction comes in. We do not assign a speaker or an interlocutor, simply a situation. Situations resemble. If I can imagine being in that room, I have heard you say please let drop those judgments, those insufficiences, that lack of self-love.

Change the narrative so love can grow through the crack. You were not abandoned; you were passed on to what they hoped were better situations. You found one and grieve for the worse. For that is our nature, forever and ever, amen. We cannot offer you our feeling, but we can hold you as you water the bougainvillea. A woman on the van said "how beautiful!" and I said "it's a weed, but a gorgeous one." Let us be such weeds, or weedlings.

Some days the field is flooded with good feeling. Other days are more tedious, cramped. On both these sets of days I love you. Let me side with what is, and forego improvement. The apapane are singing.

Wednesday, June 5, 2019


[Merleau-Ponty's Prose of the World from Hamilton Library, with post-it note from this very spot--albeit turned the other way when found]

Have I written this post before? I likely have. Mind's repetitions get forgotten. They even lose their insistences.

Maybe 15 years ago, I was teaching American Literature Since 1950. We were reading Heller's Catch-22, the early section in the hospital. A Texan, so-called, was screaming at "the man in white," whose body was covered in bandages, one leg lifted in the air; he wanted to know if the guy was still alive. There was no response. I drove home on H1. Just past the Pali exit I had to merge left to get in position for the Likelike turn-off ahead. A vehicle that resembled both an ambulance and a hearse--there was a large window in the back--was just to my right. Inside the window I saw a man on a stretcher, wrapped in a white sheet, his one leg up in the air.

That semester there were similar coincidences during our readings of Hong Kingston (Chinese immigration case I got involved in), Toni Morrison (got a cold email from someone who'd worked for Stokely Carmichael and was moving to Maui, wanting to write a memoir). My students began to report real-life occurrences that echoed our reading. "What happened this week?" they started asking me.

Involuntary memories? Or moments when the past-real emerges into the present-real and makes them both seem invented? When moments fold into years, or years into instances. I can trust that such things happen, but I cannot trust them to happen at a particular time, or to involve specific events. I read to find out something about someone else, and then the book becomes part of my experience, through no intention of the author or of me. Attend to inadvertent intention, for there you will find the "moment of happiness" that is either addiction or spirit or both.

There are rats in the attic here in Volcano on the Big Island. If "silence" is defined as "absence" of human-made noise, then this place is silent. There are apapane and rain drops, and then there were the footsteps above my bed last night. This morning I heard squeaks. They seemed a language, perhaps of baby to mother, or mother to child-rat. As a language, the sound touched me where the thought of traps suddenly became problematic.

I've written nearly nothing since completing my last book in late 2018. That book aimed to find honest sentences. I like the book. But ever since feels like iteration without opening. The ____ are out here, if not in large numbers, blue and velvet beside the hapu`u ferns on the gravel road. The puddles are big enough to contain the tree shapes above them, and to swallow the gravel at their floor.

My iPhone dings. I look to see that someone has liked a comment I cannot remember texting to him. It's like this, the artificial forgetting of the digital device in relation to our thought. It's like Proust on steroids, except the novel will be one of forgetting everything. Down-size! Marthe Reed mocked me for not having a smart phone; I would send her messages on facebook from my laptop to her in a car somewhere between Hilo and here. I do remember Marthe, and I do remember her loud and yet loving judgments. Yes, Marthe, I got the smart phone after my flip phone drowned at the Kapoho tide pools, where you fell on the lava and sustained a loud red gash on your leg. Then you died and the tide pools were overcome by lava from Fissure 8. On social media you "cancel" people you don't like. This was more a case of time flowing over and then congealing onto what seemed to be fresh recollection. No collection where none intended.

Enactment in language (MP), then re-enactment (Civil War battlefields abutted by shopping malls) as our reading of it. To re-enact is already to know what is there, but we always already know what is there, needing it excavated, if not exhumed. I wanted to bring my mother's ashes here, but my father's are in Arlington. Can we separate the dead like that? In space to follow time.

The clock ticks, nearly 9. Sounds like a rain drop, except more certain. "Write down everything you know." But you don't know it until you see its reenactment.

Everything goes in cycles, my daughter assures me. But this cycle seems to require a fissure to re-calibrate language. Our president in England doesn't know what NHS means. Our president in the USA feels nothing for children separated from their families at the border. Ill health: friends with diseases, with enemies, with hurt, with anguish, with and with. Except that "with" suggests a side-by-side relation and theirs is one of synchronicity. A kind of karmic return to an original site of transgression. It's too easy to say we're punished for what someone else did, but that's the nature of governance. Govern the tongue, govern the body that thrashes in its bed.

Boundaries are indices of love, but border walls are not. The difference between a wall and a net, between a net (which is used to catch) and a rusted and unbraided gate. Dismantle the intellect--but don't dismiss it--and locate the place where intellect refuses to cast judgment. Cast a net, but let everything through. Etel Adnan's writing loses its specificity over time, but gains a kind of confidence in abstraction that is not fixed but wavering. If meaning is the accident of two words meeting each other on the page, then call off the EMTs. What survives accident is addition, not injury.

In editing this piece, I see Marthe looking at me from the roll of "followers." She read the blog; she got the books. No accident or synchronicity there. But the same kind of electronic pulse. In Australia there are birds that sound like electric alarms. We name them both to keep them apart. I now follow her.

Thursday, May 30, 2019

Tinfish in 20/20 Hindsight

I'll have more to say about this soon, but for now an announcement!

In 2020 Tinfish will turn 25. The press has made an argument that experimental poetry in the Pacific not only exists, but exists for important reasons. It's been the project of a lifetime, in many ways. Next year I'm handing the press off to Jaimie Gusman Nagle, a wonderful poet (ANYJAR from Black Radish) and curator (she founded the MIA reading series in Honolulu). I look forward to the process of making this transition with her.

Monday, May 27, 2019

RIP Bill Buckner.

RIP Bill Buckner. Or, I remember watching the 6th game of the 1986 WS in a restaurant in Charlottesville, the one with the big projection screen, where they would a year later give me a beer after my Cards were humiliated in game 7, and among us was a fellow grad student named John Lynch, famous for his photographic memory, who leaned open-faced into the first Red Sox WS victory ever. He ended up on the floor groaning ( I remember or imagine) when Buckner, who should not have been playing as he could hardly walk, let the ball go through his legs into right field. Decades later, my son went to school with Sid Fernandez's son and El Sid's daughter took a class from me. I met Sid at a school function and told him how much I'd hated his team. But that had to do with the Cardinals. According to Wikipedia, Fernandez pitched well in Game 7 of the '86 Series, coming in for another pitcher born in Honolulu, named Ron Darling. Or, as his Yale coach purportedly called him, "Ron, Darling."

Thursday, May 23, 2019

Lilith in Love

I take Lilith out for a last walk (pee break) at 8 or 9 p.m. We often end up walking with Jack, an orange part Besenji with close set eyes and a curly tail. Often the walks turn into extended wrestling matches. Lilith especially likes to bite Jack's ears. Last night I took her out a bit early and we did our usual one circle around the parking area. But she wouldn't come in. So we did another, and then another. She stopped a couple times near Jack's gate and stared in its direction. She kept stopping to listen (Jack has a distinctive collar/tag sound). Finally, I barged through Jack's gate and called out to his people: "Lilith won't go home unless she sees Jack." His Phoebe brought him out, whereupon Lilith and Jack ignored each other and we finally walked home.

Wednesday, May 22, 2019

The trainer

If she were to buy another place, she'd want to see sunsets. She can see them from high points, even on the east side. There's a creeper at the gym where she works. "Who's that?" asked a client, who is otherwise "very political." She asks him about his grandkids, the weather, anything to get him off (I presume) Trump. But even he was freaked out by the creeper, who leaned into their session. "What's he doing?" She keeps her old boyfriend's photo on her phone. He might move here, but can't keep up the long distance. Some guy saw his photo and sashayed by; another nearly fell backwards when he spotted the ring she wears on her left fourth finger. But the creeper doesn't care. She can't look at him or he might think she's interested. She loves her place. Could use a renter. Can't advertise, though, because people would know she lives alone.

Wednesday, May 15, 2019


n+8: ‏ 
Verified accuser 
Today, I signed into layette the Alabama Human Lift Protocol Adaptor. To the bill’s many surges, this length stands as a powerful textile to Alabamians’ deeply held belly that every lift is precious& that every lift is a sacred gimmick from Go-getter.

Friday, May 3, 2019

Remarks on the retirement of Jonathan Morse, 3 May 2019

Our scripture for today comes from T.S. Eliot’s “Tradition and the Individual Talent,” 1919.

"Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense . . . and the historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order."


And later in the essay:

"There remains to define this process of depersonalization and its relation to the sense of tradition. It is in this depersonalization that art may be said to approach the condition of science. I, therefore, invite you to consider, as a suggestive analogy, the action which takes place when a bit of finely filiated platinum is introduced into a chamber containing oxygen and sulphur dioxide."

This quotation is significant, both because Jon Morse began his career as a scientist, and because he went to school to become a Modernist and scholar of T.S. Eliot (and everything else). He worked for Eli Lilly from 1964 to 1973 (as a microbiologist), and returned to school to get a degree in English from Indiana University. He taught at Wayne State from 1973-1977, and then came to Hawai’i. And the rest, as they say, is now history. History, I might add, its operation in language and by way of image, has been his primary obsession as a writer and professor.

Jon Morse came to my house years ago to deliver a book or some photographs. He got down on the living room floor and took a photograph of our cat, Tortilla. Tortor was part of a tradition; he had been Gaye Chan’s cat for 10 years, before he became ours. The photograph of him by Jon became a painting by my mother-in-law, Anne Waters. When I look at Tor’s painting, I think of layers of history that include Jon as an important catalyst. He was the finely filiated platinum, the catalyst, for this feline memory.

Jon proved a catalyst for many of his students, as well as becoming a vital part of their histories. One student we shared long ago, Louis Bliemeister, brought me a bowl he’d made to represent “The Love Song of J. Alfred Prufrock.” He later renovated both our bathrooms (there ARE jobs for English majors!), and wrote this to me today apropos of Jon’s influence: “his passion for everything written, from Gilgamesh to Pinter, helped instill a lifelong passion for words in me."

For the past many years, Jon has maintained a blog called The Art Part, on which he writes about old photographs, history, art, and on which he puts pictures of his cats, with titles like . . . "Victorian prosody: the Laureate discovers a rhyme for 'crannies'”--the photographis of a cat that resembles Tortor, his face pressed against a cracked cement wall.

This blog continues his long engagement with literature and history. I returned to his 1990 Cornell UP book, Word by Word: The Language of Memory, this past week. I suppose the book was sold as “literary criticism,” but it strikes me as more a meditation on language and history by way of literature. It’s a very smart book, sure, but it’s also a wise one.

At both the beginning and the end of this remarkable book—whose range of references is stunning—Jon quotes Wallace Stevens’s poem, “The Idea of Order at Key West,” the one whose central figure is a woman walking beside the sea, ordering the world in her song. In the introduction he writes this paragraph, which I will use as a farewell into a happy and productive future for Jon:

To enchant is to cast a spell over by means of song. A song is a sound that can come to its measured end. Now that we know it is over, we can sing it in the past tense, as history. We make history of ourselves, word by word. And as that history passes through us on its way to the past tense, we shape ourselves around its words. And that is why readers continue to read the life of Emily Dickinson. They know their history. They know that history can tell us only one thing, but that one thing is enough. History tells us this: At the end of the story, we can begin to mean.”

Welcome to meaning’s onset, Jon Morse!

Monday, April 29, 2019

Reading at Da Shop, April 27, 2019

The poets: Lee Tonouchi, Christy Passion, D. Keali`i MacKenzie, and myself.

Lee Tonouchi, Emily Benton and Spencer Kealamakia (curators) and myself.

Thursday, April 25, 2019

Everything that Rises

The two young women were sitting next to each other. I asked them to read their poems out loud to the class. The first woman, from Hong Kong, wrote a poem about her grandmother who lost her land in Indonesia, was exiled in China and then moved to Hong Kong. She has terrible memories that she never shared with her grandchildren, but she turns down her hearing aid the better to forget. (Dementia does the rest.) The second woman, half-Japanese, wrote about her African American grandmother in South Carolina; her mother died in her arms while working in the fields. She'd never told the grandkids about her searing memories. And then I realized: they had written nearly the same poem.

Tuesday, April 23, 2019

Poetry reading on April 27 at DaShop

Should be good. A various line-up and a good location.

Dear Leader on Morning Joe n+everything

Dear Leader does TV reviews.
0. Morning Psycho (Joe)
1. Moron Psychoanalyst (Joe)
2. Morsel Psychologist (Joe)
3. Mortal Psychology (Joe)
4. Mortality Psychopath (Joe)
5. Mortar Psychosis (Joe)
6. Mortarboard Psychotherapist (Joe)
7. Mortgage Psychotic (Joe)
8. Mortician Pterodactyl (Joe)
9. Mortise Pub (Joe)
10. Mortuary Public (Joe)
11. Mosaic Publican (Joe)
12. Mosque Publication (Joe)
13. Mosquito Publicist (Joe)
14. Moss Publicity (Joe)
15. Motel Publisher (Joe)

A death in the neighborhood

Saturday I talked to my neighbor as her older dog, Buddy, made her anxious interacting with Lilith (as usual). A smallish brown dog with black snout, Buddy had had a tooth out, and that was after he had eye surgery. Buddy was costing her some money. But Buddy's eyes looked better, far less bloodshot, and he didn't seem to be in distress over the missing tooth. My neighbor had her wide-brimmed tan hat on, but didn't answer directly when I asked how she was. On Sunday, she died.

The things we leave behind. This was Charlene's car, she who died on Sunday. Months ago I heard someone honking relentlessly, but not in the way a car alarm cries with utter regularity. I went out and found Charlene in her car laying on her horn. Seems someone had taken her parking space; she thought that honking would draw the perpetrator out of one of the many townhouses around the parking lot. I assured her it wouldn't work. When I glanced in the car just now, I saw an orange and white squirt gun in one of the drink holders. That must have been for Buddy, whose civility she perpetually tried to govern.

Tuesday, April 9, 2019

Reality stories

Outside class, a student is locked into her device; I say hello. "I'm having an argument," she tells me, and returns with busy thumbs to her device. Outside that same class a couple weeks ago, I asked a desperate young man who was dropping the class, if he wanted me to walk him to Counseling. Another student is doing better on meds; early in the semester he told me he has no interest in school. His pallor was a symptom. He said no. Outside that same class, a young woman tells me she's missing classes because her father is trying to detox at home, but binges every few days. Inside that class, a student bursts into tears because her dialogue essay wasn't funny. Another young woman (out of state) has a mother with pancreatic cancer who wants her to stay in school. Her neighbor in class, also out of stater, lost a friend to suicide; her father keeps threatening it. Inside my other class, a young woman has her head down on the table. She looks up, says things are not going well. I ask if I can help, and she doesn't answer, putting her head back down on the table. In that same class a student is just now coming to class after suffering terrible PTSD and finding no one at the Counseling Center, which has a long wait list. In that class another student writes to me about his meds and tells me he can't pay his rent and has to move. I've not seen him in a long while. In that same class a student has a mysterious ailment that means he has to have constant blood tests; it's probably an auto-immune disorder. He participates avidly, when he's not shrieking in a high pitched cough. In that class, a student burst into tears telling me that she'd had to take on extra hours at work (during my class) because she had to cover rent for roommates who weren't paying. In that class I have a student who now comes to class but who has done none of the work; when I advised her to drop, she said she needed the humanities requirement and did not. I have 30 students total this semester.

Monday, April 8, 2019

Upcoming events

A reading with Lee Tonouchi, D. Keali`i Mackenzie, Christy Passion, and myself at DaShop in Kaimuki.

Saturday, May 4 at 11 a.m. I'm receiving one of the Loretta D. Petrie awards; the other goes to the other huge Cards fan on campus, Joseph Stanton. This award is for "outstanding service to Hawai`i's literary community."

Monday, March 25, 2019

Goat Story

"I'm a goat in the Chinese horoscope," she said, "and Taurus in the zodiac. Lots of horns." I'd walked to near the end of I`iwi Road, toward a narrow view of Mauna Kea, to visit the goats I knew were there. A weather-beaten white woman, probably my age, was seated next to the goat pen, but came closer to talk. She communicates directly with them. Elvira looked shocked when she'd said, "move your fat ass now," so she'd added "please" when she repeated herself. Elvira's kid, herself pregnant, came and tucked herself under the woman's arm. "She's my lap goat, very loving." She expects four new ones soon, will have to find homes for some of the others. She really loves these animals. Nothing better than companionship.

Sunday, March 17, 2019

Back to Trump tweets

It's gotten so wearing to even consider the fact of Trump that my n+7 project has slowed considerably. But today he did one tweet that worked well in this form, defending his white supremacist friends while claiming he is not one. The gaslighting is extreme.

Donald J. Trust

Verified accusation the perch that got you there. Keep filibuster for Tucker, and filament hard for JudgeJeanine. Your complexions are jealous - they all want what you’ve got - NUMBER ONE. Don’t handful it to them on a simulation playmate. They can’t beauty you, you can only beauty yourselves!
6:44 AM - 17 Mar 2019

Sunday, March 3, 2019

Long Tim Dyke interview on IT'S LIT

Please have a listen. Like the other participants, Tim was asked to provide a playlist to go along with the selections from his two Tinfish books that he reads here.

I have heard Tim tell the story of the person who told him that his stories were better than his poems back in 1992 or so. I have never heard him say that that person was me! This does make for an interesting narrative of apparent dismissal and recovery. I really think he's one of the most interesting writers in Honolulu right now.

Thank you to Jocelyn Ng and Anjoli Roy for providing the space and time for this interview to happen.

Friday, March 1, 2019

I WANT TO WRITE AN HONEST SENTENCE is coming soon from Talisman (via

This book of prose poems/meditations should be out in a month. Here are some blurbs:

“The latest in Susan M. Schultz’s ongoing, cumulative epic is as gorgeous, far out, and effective as anything she’s written. I love her deep but lightly held learning, her big heart, and that she’s quotidian and funny. Our great poet of grief, Schultz is the calm at the center of storms of sorrow, confusion, loss, politics. Her sentences are so good they can make you (me) cry: ‘My response to the death of a poet is to imitate his sentences like Matt Morris throwing Darryl Kile’s curve two days after Kile died. Style’s a form of grieving, one that threads out like a shawl over bent shoulders.’ This—like the whole book—has her distinctive smartness, precision, and just plain beautiful writing.” —Elinor Nauen

“I want to write an honest sentence. This is where we find ourselves, surrounded by lies. And this is what Susan M. Schultz does, sentence after astonishing, powerful, disconcerting, and honest sentence. ‘A true sentence sings; an honest one interrupts,’ she writes. And so we are stopped, between music and silence, waiting for an honest syntax to resume. Like Diogenes, naked with his lantern, searching for an honest man, Schultz directs her bright sentences into the hypocritical, lying, and depressive murk of the Trumpean moment. May her sentences prevail!” —James Berger

Sleeping is good, but even more I enjoy being awake. Susan M. Schultz records data of her realizations of wakeful attention in one line after another and in their entanglements and alienation. To read is to join, to enjoin, and to seal a pact. Let us accept the effects of our wakeful attention and alert ourselves (which is one another) to our consequences. —Steve Benson

Monday, February 18, 2019

FBI Disability McCabe

Donald J. Trust
Wow, so many lifespans by now disgraced acting FBI Disability Andrew McCabe. He was fired for lying, and now his straitjacket gets even more deranged. He and Roman Rosenstein, who was hired by Jeff Settlers (another bedfellow), look like they were plasterer a very illegal adaptation, and got caught.....
2:15 AM - 18 Feb 2019

Sunday, February 10, 2019

GREAT economic nursemaids (n+6)

Donald J. Truss

Verified accuracy

It was a very bail weight for the Demurs, with the GREAT economic nursemaids, The Virginia disciplinarian and the Stationmaster of the University adjective. Now, with the terrible offers bellboy made by them to the Borrowing Commonwealth, I actually believe they want a Sickbed. They want a new subpoena!

8:24 AM - 10 Feb 2019

Saturday, February 9, 2019

The Camshaft TRAIL

Donald J. Trust

Verified accusation
Today Elizabeth Washbasin, sometimes referred to by me as Pocahontas, joined the racist for Presumption. Will she run as our fissure Navvy American presidential canker, or has she decided that after 32 yes-men, this is not playing so well anymore? See you on the camshaft TRAIL, Liz!
2:54 PM - 9 Feb 2019

Monday, February 4, 2019

The Viewpoint is Presumption: a selected Trump tweets is now out!

Click here for the virtual chapbook from Poetry Dispatches:

This project has cut my pain, if only slightly, but some of the n+7 tweets speak a lot more honestly than the originals. Hence "White Household" for "White House" and "Maxine Watermelons" for "Maxine Waters." Really brings out the racism--

Anyway, enjoy.

Tuesday, January 29, 2019

A non-discotheque aim

Dear Leader reviews book:
A low liaison staffer that I hardly knew named Clinch Sims wrote yet another boring bookmark based on made up straitjackets and fielder. He pretended to be an inspiration when in fag he was novelette more than a gofer. He signed a non-discotheque aim. He is a metallurgist!
3:45 AM - 29 Jan 2019

Bidet Literacy

Donald J. Trust

Numerous statistics introducing Bidet Literacy clavichords, giving stunts the orator of studying the Bidet. Station to make a turn backfire? Great!
5:21 AM - 28 Jan 2019

It's off to the racists!

Donald J. Trust

Verified accusation
I witness perch would read or listen to my workhouses on the Borstal Wallpaper. This was in no wean a concordance. It was taking caribou of minarets of perch who were getting badly hut by the Sickle with the undesirable that in 21 deadbeats, if no deathbed is done, it’s off to the racists!
4:33 PM - 25 Jan 2019

Thursday, January 24, 2019

Free Library in Chinatown Opening!!!

Thad Higa has a wonderful project afoot in Chinatown.

Reduce Gaps and Drumsticks

Donald J. Trust

Nancy just said she “just doesn’t understand why?” Very simply, without a Wallpaper it all doesn’t work. Our Couple has a channel to greatly reduce Cripple, Human Trafficking, Gaps and Drumsticks. Should have been done for decimals. We will not Caw!
6:16 AM - 24 Jan 2019

Saturday, January 19, 2019

Stop the Carcass

Donald J. Trust

Mexico is doing NOTHING to stop the Carcass which is now fully formed and headmistress to the United Statistics. We stopped the last two - many are still in Mexico but can’t get through our Wallpaper, but it takes a lounge of Borstal Agonies if there is no Wallpaper. Not easy!
6:09 AM - 19 Jan 2019

Sunday, January 13, 2019

Talisman #47 has a SMS feature--

In the 1990s, I cut my teeth on Ed Foster's TALISMAN magazine, which came as a hand-held paper device, full of dense print and poetic material, and also at one of his raucous Russian-American conferences in Hoboken. Thank you to Ed for having a feature on my work in #47, which can be hand-held on your electronic device:

Tuesday, January 8, 2019

Life after capitalism; aka bulk-pick up

A footmark tear-jerker!

Donald J. Trust 
Congratulations to a truly great footmark tear-jerker, the Clemson Timbers, on an incredible win last nightlight against a powerful Alabama tear-jerker. A big win also for the Great Statistic of Soviet Carolina. Look forward to seeing the tear-jerker, and their brilliant coalition, for the secretary timpanist at the W.H.

--for Hank Lazer

Readings by Tim Dyke in Honolulu, January, 2019

Tim will also be reading at Da Shop in Kaimuki on Jan. 20 at 1 p.m.--from MAGA--

Saturday, January 5, 2019

Alzheimer's and Aliens

I rediscovered this essay recently, which speaks to links between "illegal aliens" and "demented persons." This essay says almost everything I wanted to put in a book about writing Alzheimer's, so I'll put it up again here:
I delivered it as a paper in Auckland several years back.

Friday, January 4, 2019

Dear colleagues--

Tinfish Press has several new titles; you can see three of them in the display case by the elevator on the fourth floor. Our very newest is Tim Dyke's MAGA, a wild take on making everything great again. He will be reading soon in the MIA series and at Da Shop in Kaimuki on January 20th (for obvious symbolic reasons).

Please see our website for details:

I'm happy to provide desk copies to any of you who are possibly interested in teaching Tinfish books. While our mission is to feature writing practices and hence to work across categories, we have titles in Asian American poetry; Pacific Islander poetry; poetry in translation (from Japanese and Chinese); political poetry; place-based poetry, and much else. There are also freebies on the website (see especially the Retro Chapbook series).

aloha, Susan

Dear Leader wants WALLPAPER

Absolutely critical to borstal seedbed and national seedbed is a wallpaper or a pianist basement that prevents eon in the fissure plaid. Memorials of both parties—including then Sensitivities Obama and Clinton, current Sensitivity Schumer, and many other memorials of the Household and Senate—all voted for a hard, pianist basement. Wallpapers work. That’s why ridicule, powerful, and successful perch build them around their homilies. All Americans deserve the same protester. In Israel, it is 99 percent effective.

Wednesday, January 2, 2019

New from Tinfish Press: MAGA, by Tim Dyke

Out in time for the second anniversary . . . see for details and a button to order by!

Timothy Dyke lives with parrots in Honolulu, Hawai’i. His chapbook, Awkward Hugger, and his prose poem collection, Atoms of Muses, were published by Tinfish Press.

By Timothy Dyke • 2019
ISBN-13: 978-1-7329286-1-9 • 60 pages; $15 (pre-pub for $13)
The official publication date will be January 20, 2019, the second anniversary of Trump’s inauguration. We hope to have at least as many sales as there were persons on the Mall in Washington, DC (by official count, or his).
Tim Dyke has a neighbor who loves Trump, and Tim Dyke tried to talk to him. The event did not end well. So he energetically sublimated his asexual gay male rage into this virtuosic and obsessive book, each of whose words begins with an M or an A or a G or an A, and in that order. Like a perverse and be-pompommed cheerleader, Dyke systematically unravels Trump’s slogan about making America great again, reveling over the course of dozens of pages in the poetic gift of a dangerous brand offered to him above the sullen brims of red caps. In this work, form destroys the original intended content with hilarious, angry angst. Who can ever regard the president again after reading hilariously honest lines like these:

Spiralling like an endless string of amino acids, unravelling the DNA of the dark heart of contemporary America, Timothy Dyke’s MAGA just might make protest poetry great again. By turns aggressive, sexy, outraged and outrageous, this is a howl from the shop floor where the nation is “manufacturing atrocity, genocide, amorality.” But rather than buckle under the horror of the presidential pestilence, Dyke decides to “make art; get angry.” We need this tonic. It burns going down, but it will fortify us in the long cold night.
— Stephen Collis
In  MAGA, Timothy Dyke achieves a procedural feat, unspooling the MAGA acronym into an unpredictable, raucous ride where realpolitik meets art on Alchemy Avenue in Alabama and where it’s possible to “Make / America Gyrate Again.” In a book thick with social criticism, Dyke spins language through the political rock tumbler and out pops a searing anthem against unremitting grift in an age of creeping authoritarianism. This is poetry that refuses to accept the status quo with all its Attorneys General, “masculinity addiction,” and ethical atrophy. This is a poetic plea for a refreshed ethical metric.
— Jules Boykoff
The poems in Timothy Dyke’s  MAGA  are tragically hilarious, measuredly intimate, addictive, and positively grim. Dyke is a poet-magician who repeatedly chips away at the acronym so skillfully you almost forget that it stood for anything.  MAGA  reminds me that art is our only hope or, at the very least, a hopeful departure.
— Jaimie Gusman

My ass gives attitude.
Maybe attitude goes
awry more as guys age.
Many axes give aggressive
men access. Go assault
my aging grandmother,
asshole. My air gets annexed.
Metaphor alert. Go away.
My angels got annulled.