Wednesday, April 03, 2013

A Poem from October 2012

*This poem is not part of the Paterson Project proper.  It is, instead, a personal poem I wrote last fall as part of a creative writing assignment.  It is based on my memories of a criminal trial in which I participated in the spring of 2009.



Sentencing

Four years ago
I sentenced a man
to his death.

Not that I killed him, I should revise,
but that I found him guilty,
of breaking and entering,
of rape,
of kidnapping in the 2nd degree.

There was little question
of innocence:
three friends, pointing plead fingers;
a DNA match, to the site of the crime;
the testimony, even, of a small,
and dimmer, woman,
who did not
flinch—

She had been chosen, she said;
among others.  Kept
in a bathroom, with her face pressed down
near the floor.
she was beaten, and made to suffer
the seemingly
unsufferable.

One by one of us declared it: guilty
of breaking and entering,
of rape,
of kidnapping in the 2nd degree.
This was followed
by the order of a judge,
who unshouldered our weight,
who gave our words
meaning:

60 years, he said;
and Life.

But what I remember most, what I
cannot shake from my head
of that day,
is not a boy, just
seventeen, whose life was then
forfeit;
is not a brown-skinned woman,
shoulders so far down,
taking the loneliest seat
in a courtroom;
is not the mothers, of the chained
and the unchained,
who wept alike
over the choices which had brought them
together;

it is a matching of eyes
between men: the
defendant; his friend, six months
on the inside.
The friend looked at
Him—twice—
as if to say:
“Run, oh Beautiful;
there is no waiting
for Death.”

You may say this
is not my tragedy;
and if you do, you are,
of course, right.
It is theirs,
and so sharp,
and so public.

Yet, still:
the combined humours of pity, guilt,
love weave seamlessly,
before they are contorted,
in rhythmed bows,
and made
a spectacle
of other horror.

And, in that,
 a point goes missing.

No love here is
replaceable, and no pity
yet bane.

KMC 9/14/12

Paterson: Book II, Chapter 1, p. 55




Hungarian Metronome; or, Time Over the Falls

(not a rush—a steady tempo:)

metronóm.

Metro-
nóm.
Etro
nóme.
Tron
ómet
ronó
me.tr
onóm
etro
nóme.

Nó.me.
Metro.
Nóme.
Nóme.
Nóme.

KMC 4/3/13

Tuesday, April 02, 2013

Paterson: Book II, Chapter 1, p. 50-52, 54-55, 58-61


Lovers in the Park

There is no place outside

from which to say
what this is 
or what it is not.

There is only it:

warming,
or reminding,
or being,
in its own
degrees.

But somewhere

a dog jumps for a Frisbee--
and forgets:
a fence;

a leash;
a chain.

KMC 4/2/13



Saturday, April 14, 2012

Paterson: Book I, Preface, p. 3



To Make a Start: from Paterson


And just as time begins to pass the rigor

sets in, leaving nothing but stiffened beauty,

a pair of boots, a dog, and a yearning quest

of continuous loss over continual gain. Particulars

ease forward reticently. The hope of the general--

the only genuine hope--continues its rolling.


Furthermore (or perhaps however), these ends are rolling

on progressively as always, falsifying the rigor

of the first and calcifying hope and pain into general

anesthetic. Means shift meaning faithfully toward beauty.

The edges shift, shake, and oscillate the particulars

within, blurring the simple itinerate quest.


Is this the everyday, constant quest

of movement between crowded streets, rolling

forth? Are these them? These the particulars

we wanted when we dragged this dead dog in rigor

up, swabbed the blood from its ears, releasing beauty,

ghostly, from a concrete mutt? Arrived has our general.


It's hard to explain the exquisite truth in general,

but more so when you're an undead retriever mix back from a quest

that included drowning in the grey expansive beauty

of the Atlantic City ocean where the horizon sets to rolling

and lapping at your feet. This grey is a grey of a rigor

so severe that all who see it see only its particulars.


The dog is it. The one with all the particulars.

Her moves are to become our moves, her sounds our general

approach to all and all that will be. Rigor

is her only requirement. We shall leave, naked, on a quest

for it all, but only if all of it begins with rolling

freely out in its own direction and beauty.


The only thing that counts as far as beauty

is concerned is this: divide up the particulars

into categorical desires, then smash them with a rolling

pin. A fine dust will be generated and a general

feeling of peace will wash over you and your quest

will end. Breathe deeply this dust, for it is your rigor.


There is only rolling in this nothing beauty.

There is only rigor in these murky particulars.

There is no general thought in this categorical quest.

Thursday, August 04, 2011

Paterson: Book II, Chapter I, p. 57-58 (II)



Eisenstein’s Heavenly Man (II)

The film is a nickel
And worth it:
Eisenstein’s heavenly man.

“The meat is rotten!”: Vakulynchuk's corpse


Ice on the inside of a window: Alma-Ata

“Госуда́рственная пре́мия СССР!”: Moscow


Ca-ROCK-ithy, C-ROCK-ithy: 4 December, 1930

“Think of them as frescoes in motion!”: to Frida Kahlo


Whisps of chilled air: Alma-Ata

Strike!: Strike

“A film without equal in cinema!”: Joseph Goebbels

One hundred thousand dollars: py6 2,746,800


The numbness of a cheek: Alma-Ata

Fingers curling along the edge of a mattress: Alma-Ata

Iris out: Alma-Ata





In the morning, Rising: 11 February 1948


KMC 8/4/11

Paterson: Book II, Chapter I, p. 57-58 (I)



Eisenstein’s Heavenly Man (I)

Fifty feet           
On a silver screen //      
Eisenstein’s:      

HEAVENLY MAN.

The meat is rotten!
(Strike!)
The quarters unkempt!
(Strike!)
The wages unfair!
(Strike!)
The blood unjustly spilled!

(And in a darkened
room, eyes reflect light
and Tell: 
everything is shadows
moving faster
than they should be.)

Paterson: Book II, Chapter I, p. 58


(Priapus!)

Priapus!
Come and let me
have a look at you.

I'll not stare
at the obvious--
          the enormous,
          swollen,
          tired phallus;
                    the rises of strains
                    in the muscles 
                    of your forearm;
                              the purple bend
                              of awful skin;
                              the long-wished-lost
                                        weight.

I'll not share
your story broadly--
          the fetal curse
          of a jealous 
          goddess;
                    the chasing through fields
                    of Other-claimed 
                    flesh;
                              the thwarting,
                              (hilariously)
                              of an angry, stubborn
                                        ass.

I'll not mock
the life of verdict--
          the building
          in you    
          of the unspeakable thing;
                    the want
                    of love
                    or the thrust of it;
                              the longing
                              for finish,
                              and the prayer for
                                       ends.

          Rather, I'll wait.
          I'll look you over,
          with my own two eyes,
          and see you blink.


          Who would have guessed
          it would take your presence
          to undo you?
          Who would have expected
          the weight of too much of you
          would be the weight you could not bear?

         The envy, friend, is yours.
         Stand up (as if you could not);
         rise,
         and get out
         of my sight.

KMC 8/4/11

Sunday, July 10, 2011

Paterson: Book II, Chapter I, p. 55


A Song for Nothing; or, "Rafters"

[horns enter]
Chorus of thousands:
arpeggiated risings, fallings
to a sound.

Let's sing, goddammit;
let's shout til the mother
fucking roof rises,
until it quakes
from the grey-dusted I-beams
posting up from the floor;
Let's sing until bolts rattle
in their holes
and hundred-year old washers
bounce on their foundings
 like makeshift tambourines;
until metal winks and shimmers
in radiating rooflight,
and silvered steel hisses out
the harshest cymbaled Cs:
                     SSSSSSSSS--

Let's sing, you sons of bitches;
let's roar from our bellies
with full-lunged, full-
throated, fucking
full-bodied gutsongs;
let's shout until pressures unknowable
push out against the walls
of our skin;
until sound itself vibrates
our bones,
our fingers,
our teeth,
until something threatens
and will
burst, tear, rip
out of us,
splitting us each
down our alchemical
middle--

Let's break, crowd of crowds;
let's swell, rise, and part
down our seam;
let's climb in walls
of mother-fucking water,
riven as the Red Sea,
hemisected as our own 
grey matter;
let's, let's build
our song of everything
until it opens,
it unzips itself,
it spills itself out
of our split-husked selves,
pouring from the hives of us
like a swarm of 
unbelievable bees,
Oh, oh, my god:
            LISTEN--

Take
this,
Jesus Christ,
please take
it;
take it
and keep 
taking.

KMC 7/2/11, 7/10/11

Thursday, November 05, 2009

Another Promise of Another Return

Well, it's been quite a long time since our last post. To briefly explain: both Conversely and I are officially and very deeply into our respective "dissertation stages" of the Ph.D. program here at South Carolina. Additionally, I am now the father of a one-year-old girl, and as you might expect, my free time is not what it once was. Unfortunately, this means we have both been quite distracted and have lacked either the time or motivation to keep posting on here with the regularity this project used to rely on (and which used to be one of this project's strengths!).

In any case, I'm posting today to announce that I (I'm not sure about Conversely) want to get back in the blast poetry saddle. I've been thinking a lot, and maybe it's the sleepless haze I'm constantly in or my perpetual state of intellectual exhaustion, but I think I've got some good ideas again. I'm not going to make any official promises about posting--instead, I'm just going to say that I'm going to do the best I can. I know we have probably lost essentially all of our readership over the past year, so I can say all of these things with the confidence that I'm not going to be offending very many people, at least. I also plan on putting up some of the rough demos from our musical endeavors over the past year or so. Gaston Monescu did some incredible work on these songs, and they deserve (at least) an internet forum. With some luck, I believe Gaston is going to have an opportunity to put together slightly more professional versions of his material in the next few months, so I'll be sure to pass those along as well. As for other materials, poem/lyric changes should be posted soon, and as always, we welcome feedback on any of our archived material (remember: the basis of this project is that none of this material is ever truly 'archived'...it's always 'in process'!).

Oh! One other bit of news: Two of my poems--"The Haitian President to His Women" and its companion poem, "Women to the Haitian President"--were published a few months ago in The Breakwater Review...which of course means that I am now, officially, a published poet. So that's cool, I suppose. I've already dusted off my beret and great God, you should SEE the soul patch I've grown: it's amazing.

So, until the next post, let me say again that I appreciate those of you who have been involved in this project with all my poetic heart (twice the size of a regular heart, btw!). Take care, and we'll get new material up soon.

Also: enjoy those Paterson photos! They're old, but aren't they AWESOME?!?

-T. Az. (or, more humbly, Kenny Camacho)

Tuesday, October 21, 2008

Paterson: Book II, Chapter I, p. 52


Imagined Indians / the Ground Spoke

Looking past

suction-cup arrows

and cheap plastic bows,

my brother settles

on a toy wooden

musket and coonskin

cap, hung to the left

of the sale window

in a Blue Ridge

tourist store.


Our parents buy a

second set, and we’re

matched the rest

of the day:

exchanging empty

rifle cracks from behind

the boulders along

the clean hiking paths

to the top of the

mountain.


At the summit,

my brother raises

the butt of his gun

and rams it against

my cheek; his face: red,

angry. Our mother

scolds him, reminds him

we’re brothers; we don’t

fight with each other;

we’re not savages.


In the afternoon,

our father buckles us

both into the back-

seat of our car, and we

close our eyes for the

long, winding drive back

down the Parkway: two

Boones, two Crocketts, foe-

less, now, and silent;

sleeping on and off.


I have a picture

at home: A doe-skinned

Mother, papoosed,

paused mid-stride along

a game trail, bare foot

lifted and waiting

to slip silently

into the oil-painted

underbrush. White streaks

filter down through the trees.


Caps in my pocket,

striped raccoon tail pinched

in the nape of my

neck, I imagine

Indians, smooth, dark,

hatchets in hand, bows

on their backs, quiet –

each frozen in step

as our car turns tightly

around another corner.


10-21-08