April 29th 2016

·

closing
····days of April—only last summer’s
········bones
·

Maybe because the winter was so short, the spring seems endless in its coming on. But for the haziest hints here and there, the trees still are as bare and black as January—the forest floor blanketed by another season’s leaves.
·

173 April 29th 2016 | bottlecap

April 28th 2016

I keep talking about Basho but the reason, as far as I know, is that Basho is the only Japanese poet whose collected writings have been translated into English. Perhaps unusual, as far as poets go, is the opportunity to read him working out the best way to express an idea.

·

the color of wind
planted artlessly in a garden
bush clover
·

kazairo ya / shidaro ni ue shi / niwa no hagi
wind color <> / artlessly in plant (past) / garden of bush clover

·

the color of wind
planted artlessly
in an autumn garden
·

kazairo ya / shidaro ni ue shi / niwa no aki
wind color <> / artlessly in plant (past) / garden of autumn

·

the color of wind
planted artlessly
in a garden of reeds
·

kazairo ya / shidaro ni ue shi / niwa no ogi
wind color <> / artlessly in plant (past) / garden of reeds

·

Basho: The Complete Haiku, Trans. Jane Reichhold

This to me, poet and writer at heart, is like truffles to a pig. To follow a genius work is always rare; and I’ve always loved reading the sketchbooks of poets or studying the manuscripts of composers. Nothing gives you equal insight into the creative process. A while back  I wrote a post on Frost’s Nothing Gold Can Stay and, because earlier sketches of the poem existed, was able to speculate as to Frost’s thought process.

But how about Basho? In the first version he ends with bush clover. “Bush clover” was a season word signifying early autumn. One has to wonder whether there was any significance in the bush clover beyond indicating the season. Evidently, Basho was dissatisfied. The choice of bush clover seems to lack conviction—one might say that it’s almost expedient.

In the second version Basho tries the more all-encompassing, and universal, “autumn garden”. Rather than rely on a season word, he simply states the season. Evidently, he was still dissatisfied. Why? My guess is that he found the “imagery” too abstract. What is an “autumn garden” after all? It might be more evocative than “bush clover”, but lacks concreteness.

Basho wants more. “in a garden of reeds” is his third try and with this he produces both a concrete image and beautifully ties the haiku together. How? Reeds are a season word indicating early autumn, but more than that, they are commonly associated with the wind and their/(the wind’s) noise.

  • wind in the reeds (ogi no koe, early autumn). Lit. ‘voice of the reeds’.
So, in this respect, “the color of the wind planted artlessly” assumes a whole new layer when applied to “reeds”. The reeds, in Basho’s final revision, embody the color of the wind and it’s sound and color (we imagine their papery clacking), in a way that the “bush clover” or “an autumn garden” doesn’t. Whereas the first two haiku are mediocre, lacking resonance, the final version proves to be greater than the sum of its parts.

 

Maybe that’s a good way to describe the best haiku—resonance.

·

sleepless
····night—the creature’s calling and calling
········unanswered

·

For some, it’s what they don’t now that frightens them. For me, it’s what I know.

·

April’s
····waning snow—the moon also melting
········to nothing

·

Hard to believe, but a little snow still remains of Tuesday’s wintrish storm.

·

172 April 28th 2016 | bottlecap

April 26th 2016

·

snow
····beneath the grass—a winter’s day
········in April
·The

Perhaps a last winter’s storm today. For a little while Vermont looked as if January had returned. The pines were layered in snow and ice clung to the limbs of the trees. Even so, the grass and the pines were a brilliant green in the momentary snow.
·

170 April 26th 2016 | bottlecap

April 25th 2016

·

crow
····walking in the yellow field—just
········because

·

I’ve put up bird houses round the garden, over the brook and under the tree house. I found them higglety-pigglety, thrown over a stone wall or under a bush. They’re beautiful: their wood deeply grooved with sun and weather. Still no birds though, and no barn swallows.
·

169 April 25th 2016 | bottlecap

April 24th 2016

·

sit
····closer—April’s moon is cold
········as snow
·

This is the best time of year in many ways. I go into the morning with a winter’s coat and return to a summer’s evening. By nightfall, though, frost edges inward from road and forest. The sounds of spring recede and the stars glitter like broken glass.
·

168 April 24th 2016 | bottlecap

Erotic Poetry, Love & Passion • Three Books Added

Reviewed and added the following books to Erotic Poetry, Love & Passion • A review of Poets & Anthologies:

  • Erotiku by Lisa Marie Darlington
  • The Poetry of Sex edited by Sophie Hannah
  • The Literary Companion to Sex edited by Fiona Pitt-Kethley

You will find it below and appended to the larger review linked above.

Erotiku: erotic haiku for the sensual soul
by Lisa Marie Darlington

erotikuThis is a book I really looked forward to getting my hands on. Anyone who’s been following my blog knows I love haiku and erotic poetry in general. Erotiku has only been fitfully available at Amazon, mostly OP or of Limited Availability. When I saw it available at list price with a used book dealer, I snagged it.

The cover is great; unfortunately, the poetry not so much. Like so many western authors, Darlington seems to have walked out of the haiku tutorial at ‘three lines‘. The author herself doesn’t go much beyond this description in the book’s brief introduction. She writes:

 

“Haiku is known to follow the metrical 5-7-5 syllable structure, yet I have revised it to take on a more contemporary form. It’s composition does not follow any kind of syllable rule, yet it still holds true to the three line pattern.”

As if that were all that made a haiku (or senryu for that matter). At the close of the introduction she’ll write that “western haiku tries to imitate old Japanese Haiku with little understanding”. The criticism, unfortunately, is applicable to the entirety of her collection.

The book is thick with one haiku per page. You’re essentially buying blank paper. Having said that, Darlington’s presentation isn’t all that different from other haiku collections. She hints at aesthetic reasons for doing so, maybe to savor each poem individually. The problem is that there’s really not that much to savor. The best senryu and haiku are rich with allusion and suggestiveness. They invite the reader to conjure what the poet leaves out. The reward is traditionally a realization of nature’s interconnectedness (haiku) or the humorous foibles of our humanity (senryu). There’s a broad spectrum between these two, but all the best haiku and senryu serve as an imaginative starting point, not end point. And that’s the problem with Darlington’s erotiku. They’re too often an end point.

Kama Sutra Art

Selected positions
Kama sutra art
Of intense connection

A “poem” like this (presented the way she centers them in her book) has nothing whatsoever to do with haiku or senryu. It’s little more than a statement in three lines. There’s nothing remotely erotic other than by association. The reader is likely to respond: Yes, and? This is Darlington at her least successful and unfortunately typifies, to a greater or lesser degree, too many of her haiku (which I think number around two hundred?—I’m guessing since there are no page numbers).

Arched Out in Pleasure

Her slender body
Curved to the couch
Back arched out in pleasure.

This is more typical of Darlington’s erotiku.  They are descriptive prose passages in three lines. The reader will find lots and lots of these. I suppose it’s erotic/pornographic, but that’s as far as it goes—an end point rather than a starting point. There’s no sense of narrative or realization. By way of comparison, a rare (and possibly) erotic haiku by Basho:

to get wet passing by
a man is interesting
bush clover in rain

This was translated by Jane Reichhold who comments: “The euphemism ‘to get wet’ was often used in tanka where the reader could decide how this happened, from rain, dew on flowers, tears, or sexual activity.” And this, in my view, is profoundly more erotic than Darlington’s essentially three line descriptions of pornography. The reader is invited to finish Basho’s haiku. Is it really erotic? If so, what happened? Did they have a quickie? Is she wet because she was turned on or because he fucked her? Is she the bush clover? Is he the rain? Or is it simply a coincidental spring rain the makes her wet as she passes by a man?

Other issues I have with Darlington’s erotiku are her tendency toward “pigeon English”:

Thighs asphyxiating

Thighs asphyxiating
Around neck and shoulders
Squeezing like a heart attack.

Erotic clichés:

Hot Fire

Hot fire
Kindling, the passion
That burns like Hell.

Descriptive redundancy, verbosity and too many adjectives:

Your tongue walks

Your tongue walks
Heavily, up against
The surface of my naked skin.

She doesn’t need up, surface (as this is implied) or naked (also implied). It’s her skin his tongue walks on, after all, not her clothes. (Too great a use of adjectives and overstatement are probably Darlington’s most consistent failings.)  Or consider the following where only needlessly appears twice:

Sexy Thong Panties

She buys sexy thong panties
To only please
Herself only.

And does the reader need to know they’re sexy? It’s overstatement that repeatedly mars Darlington’s poetry.

Also, whether the decision was deliberate or simply not a part of their tradition (or language), Japanese poets never made use of like or as. The idea of the simile was there, but was handled far more subtly and to greater effect. Unfortunately, the simile is all too frequent in Darlington’s poems. [Note to western poets: Haiku aren’t glorified similes. Don’t write simileku]:

His Raising Blade

His raising blade
Cutting through; like shears –
Through her wilted flower.

(There again, through needlessly appears twice.)

A bit like a broken clock though, Darlington gets it right every now and then:

Stirred by Moonlight

Stirred by moonlight
The afterglow of sex
Glistens

This is actually quite good. There’s a play on the notion of afterglow that works nicely with moonlight. If only she had written more like this.

However, in fairness to Darlington and having written all this, I think it’s worth pointing out that the book is a record of her sexual awakening. As she points out in the first sentence of her Forward: “Not to [sic] long ago, I shunned myself from erotic pleasure. ¶ Not only did I find it dirty, filthy, downright skanky and vulgar – but degrading as well… ¶ Then, through my greatest despair, came the union of my lover. He showed me that through lovemaking and experiencing of such erotic explosions, that sex wasn’t something to be ashamed of, yet something to be celebrated and explored.” My heart goes out to her. Anyone brave enough to publish a book like this and to share their erotic life with other readers deserves some praise.

If you’re willing to set aside literary expectations and willing to read the book as a kind of awakening and erotic autobiography (in a series of three line poems) then I highly recommend it.

  • The Book About 8 by 5. Good paper. Readable. No page numbers. No index. Sans serif font.
  • Comparisons This book compares to Seduction in the 1st Degree: A Collection of Erotic Poetry, by Lisa Marie Candield. The poetry may be amateurish in both, but if one’s willing to trade that for exuberance, then both books beautifully compliment each other.
  • You and your Lover Maybe you’ll be inspired?
  • Embarrassment Be prepared to explain yourself if you happen to leave this on the coffee table, but then maybe that’s a good thing.

Sex ♥♥♥♥♥♥
Art N/A
Romance ♥♥
Look & Feel ♥♥♥♥
Poetry ♥♥
Index N/A

The Poetry of Sex
Edited by Sophie Hannah

The Poetry of SexFinally, a title that says it and means it. In case you were wondering, this is indeed a book of poetry about sex. And to keep things short and sweet: I consider this to be one of the best anthologies available. Without hesitation, I rank it among my other favorites: intimate kisses; Passionate Hearts; The Erotic Spirit; The Best American Erotic Poems.

The editor, Sophie Hannah, is delightfully playful in her introduction, fully aware that her selection is weighted toward the actor Daniel Craig (you’ll just have to read it). Compare Hannah’s playfulness to the starched-underwear snootiness of Peter Washington’s Everyman collection: Erotic Poems (if you want to ‘compare and contrast’). Hannah has no problem with the pornography that is, much to the apparent shock of many a literary editor, the defining attribute of sex and erotica.

The book is divided into sections with the headings:

  • ‘So ask the body’
  • ‘Also those desires glowing openly’
  • ‘A night plucked from a hundred and one’
  • ‘All our states united’
  • ‘But your wife said she’
  • ‘What’s in it for me?’
  • ‘Oh right. You people don’t remove that bit’
  • ‘God, to be wanted once more’

Each section has about 19 or 20 poems, and that adds up. Not an inconsiderable collection. The poems range from Catallus, though Shakespeare, and to contemporaries like Hannah herself, Rubbish at Adultery, and Sharon Olds (who, though I don’t much care for her mainstream poetry, easily writes some of the best erotic poetry around). I suppose what differentiates Hannah’s collection from the other anthologies is her sense of humor. Though there’s only so much scope for that preference in pre-20th century poetry, she nevertheless finds some choice nuggets. In her contemporary choices her nose for the humor in erotic literature really shines:

Their Sex Life
A.R. Ammons

One failure on
Top of another

Or this poem by Irving Layton:

Bicycle Pump

The idle gods for laughs gave man his rump;
In sport, so made his kind that when he sighs
In ecstasy between a woman’s thighs
He goes up and down, a bicycle pump;
And his beloved once his seed is sown
Swells like a faulty tube on one side blown.

But I also don’t want to give the impression this anthology is just for laughs. It’s not. The difference is in allowing that sex isn’t always about overheated stares, cataclysmic orgasms or the ecstasy of “spiritual”, quote-unquote, unions. Sometimes sex is just sex—fun, funny, and as dirty as you want it to be. It’s books like this that persuade me that all the best writing of the latter 20th and early 21st century is in erotica. The rest, in my opinion, is largely a morass of mediocrity.

  • The Book About 7 by 5. Good paper. Readable. One poem per page. Nice font. The best of index of any erotic anthology to date: Index of Poets, First Lines and Titles. I mean, to all the others: How hard is that to do?
  • Comparisons This book belongs on your bookshelf alongside intimate kisses; Passionate Hearts; The Erotic Spirit; The Best American Erotic Poems.
  • In Translation One or two from the antiquities.
  • You and your Lover Got a poem you want her to read? All you have to do is remember the poet, the title or the  first line.
  • Embarrassment Only keep this on the coffee around toddlers who can’t read titles.

Sex ♥♥♥♥♥♥
Art N/A
Romance ♥♥
Look & Feel ♥♥♥♥♥♥
Poetry ♥♥
Index

The Literary Companion to Sex
by Fiona Pitt-Kethley

Literary Companion to SexThis is a book published in 1992 and I’m not sure why I haven’t gotten round to reviewing it until now. It’s easily one of the most comprehensive anthologies of not just poetry but of sex and erotica in literature of any kind. In other words, you’ll find not just passages of poetry but passages from the Bible, Drama, Elizabethan pamphlets, short stories and novels. At 415 pages, there’s a wealth of material grouped, as the introduction puts it, into “five wide periods”:

  • The Ancient World
  • The Middle Ages and the Renaissance
  • The Restoration and the Eighteenth Century
  • The Nineteenth Century
  • The Twentieth Century

Among other luminaries, you will find the earily 20th century’s great egotist, Frank Harris. Going back to the ancient world you will read passages from Aristophanes, Ovid, Terence, and Apuleius. Selections from the Middle Ages include a literary passage from the Chinese author Wang Shih-Chen but are mostly limited to examples from the English. The author, in the forward,  suggests a reason for this. She writes:

“The manual type of book can be seriously boring. Even at fourteen, I can remember all those ‘yonis’ and ‘lingams’ of The Kama Sutra turning me off, not on, as I perused it under my desk during scripture lessons. It was hard for me to find a likeable passage in either that or The Perfumed Garden. ¶ In the end I decided that my criteria for choosing would be these: realism, humour, or the unusual—preferably all three. It was important to find realistic writing, simply because there’s so little of it.”

Fair enough. I’m inclined to agree with her, though one might fairly ask if her selections don’t reflect her own cultural biases. I’m not asserting they do, but the question arises. Are readers in India turned on, rather than off, by yonis and lingams? — or do they also prefer cunts and cocks in their literature?

Some other observations she makes are, I think, worth mentioning.

On the ancient world:

“The writers of the ancient world, in the main, proved to be the most open and unashamed about sex, although a slightly prurient, shocked tone crept into their news reportage (the sensationalist historians, Suetonius and Procopius). But are journalists of today any different?”

On the Middle Ages:

“The Middle Ages and the Rennaisance, although bawdy, were overshadowed by religion and doom. Conversely, their religious writing often had sexual overtones. The fate in hell of the aduleress in Gesta Romanorum provides a memorably kinky image of tortured womankind that must have provided good masturbation material for pious monks everywhere.”

On the 17th century:

“By the time we reach the seventeenth century, dildoes, and jokes about them, are big news, as are venereal diseases. The Restoration and the eighteenth century provide a period of frankness similar to that of the ancient world. It’s probably the easiest period in which to find good sex writing.”

On the 19th century:

“I knew from the start that the nineteenth century would give me the biggest problems. Apart from some good French literature and Byron, what was I to include? Literature became schizophrenic during Victoria’s reign. Sex didn’t happen in official literature, but it happened nonstop – to an unrealistic extent – in The Pearl and other underground writing. Kinkiness was in. ¶ Apart from mainstream writing and underground pornography, there’s a third tradition in the nineteenth century — one that’s often ignored. Isolated individuals had begun to collect folklore. Writing for ‘the learned reder’, these writers could be a little franker than those who wrote for the mass market, like Dickens. And mercifully, their style is usually of  far higher quality than that of the average nineteenth-century pornographer. These folk tales hark back to older traditions, keeping alive the bawdy spirit of the Middle Ages and the Renaissance.”

On the 20th century:

“By the twentieth century we are into mixed territory. I sensed curious affinities across the eras — Apollinaire’s erotic novel with Rochester’s Sodom; one of e.e. cummings’s poems with an anonymous seventeenth-century one; Eskimo Nell and Procopius’s Empress Theodora — another fucker of cosmic proportions. There is also, alas, a great deal of bad writing. Authors frequently make great claims for their own honesty, only to get bogged down in prurience and their own embarrassment. I avoided all passages that talked about waves beating on shores. (That sort of writing’s only permissible if the couple are doing it on a beach.) Still, on the plus side, there is a tremendous range of ideas and experience in the writing of the twentieth  century — everything from bestiality to vibrators.”

And that ought to give you a flavor for the kind of erotic writing Pitt-Kethley has anthologized. If you’re looking for a collection offering literature besides poetry, you can’t do better than this (as far as I know). Consider this the best anthology of erotic literature currently available.

 

  • The Book About 8 by 5. Acid paper. Will yellow over time. Readable. Nice font. An index of authors only.
  • Comparisons For the erotic connoisseur, this book belongs on your bookshelf alongside the poetry of sex, intimate kisses; Passionate Hearts; The Erotic Spirit; The Best American Erotic Poems.
  • In Translation Mainly antiquities, Chinese and some French.
  • You and your Lover Not the kind of tome to snuggle between yourself and your lover, but if you’re wondering whether your great (to the tenth power) grandparents liked it the way like you like it, this is the book.
  • Embarrassment A high brow addition to your accidentally discovered coffee table collection. Your guests may want to borrow it. Your only embarrassment will be in having to ask for its return — please?

Sex ♥♥♥♥♥♥
Art N/A
Romance ♥♥
Look & Feel ♥♥♥♥♥
Poetry ♥♥
Index

August 22nd 2016

·
spring’s
···scent through the kitchen window—dicing
········olives
·
Tonight I ate pasta with diced tomatoes, garlic, black olives and a dash of red pepper. The evening continues to be warm and lightning is on the horizon. The roads are damp with not even a drizzle of rain. Only three or four days ago the last snow melted behind our house.
·
166 April 22nd 2016 | bottlecap

April 21st 2016

·

where
····the tree had been before the storm—
········starlight

·

This last winter we lost the largest tree in Vermont—had been on our property. Was an old twisted oak, massive at the base and whose branches one could comfortably walk on. The sky has returned, patiently waiting for the next tree.

·

165 April 21 2016 | bottlecap

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