Category: Poetry

  • Carnival

    Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
    Fog shrouds the buildings, wraps the antique streetlamps. We can see nothing. The monsters sweep us blindly through the maze – devils and demons, banshees and goblins, witches, warlocks, vampires and cretins – festival costumed creatures lurching drunkenly through the labyrinths. Or are they?
    “We’re walking in circles!”
    Deserie clutches my arm. Thunder rocks the rain lashed streets, lightning flares.
    “Look for the church!” I shout above the chaos. “Try to spot the steeple!”
    Deserie seems an apparition herself, pale, frenzied.

    We had been lost in the mountains, driving dizzily through the dusk, in the ancient black, Bentley which the hotel had provided for us, when we saw the lights of a city flickering in the valley.

    “Shangri La?” I quipped.
    “Dunno about that.” Deserie studied the tour guide by the interior light. “Whatever it is, it’s not on our map.”
    “Maybe the map’s as outdated as our ‘vintage’ loaner car?”
    “Nothing’s as old as old Bentley.” Deserie patted the dash. “Maybe Noah’s Ark.”
    The car was a riot. It was a mystery it ran. I immediately nicknamed it: “Our Honeymoon hearse.”
    Night fell swiftly, as we descended the steeps. I wrestled the black shadow down the long winding roads, between the snow capped mountains with their bends and sweeps. The chasms were treacherous. We held our breaths. The city in the valley seemed nestled in death. My joke got less funny. We reached the bottom with our fingers cramped, amazed that we made it, civilization at last.
    We parked near an old church on a narrow, cobbled lane – a grim, gaunt structure with a tall bell steeple. But the roller coaster ride was not over. Bonfires, lanterns, fireworks lit the streets. The old city was mobbed. There was a carnival or some sort of festival in progress.
    “One big party.” I ‘Groucho Marxed’ my eyebrows at Deserie, after I danced around the Bentley and opened the passenger door.”
    “That was your vow.”
    She gathered her skirts and slipped out.
    “Life in the fast lane.” I crooned. “Life on the edge. The trip to nowhere.”
    “I think we found it.”
    Jugglers, acrobats, magicians mingled amidst the throngs, vendors, fortune tellers, phantoms on stilts – everyone was costumed, everyone was masked. It reminded us of Mardi Gras or The Day of the Dead, or that one Halloween night in Greenwich Village when everyone turned out. But there was something disturbing about this festival. The revelers seemed too strident, their fervor directed, madly, at itself, as if madness was what they were celebrating, their march a lockstep into hell. Like bats in a belfry they swooped and swarmed us in the night. My pockets were picked. Deserie’s purse was snatched. Before we knew it, everything was gone – identification, money, even the keys to the car. We were swept up in a maelstrom which made no sense. The streets had no names, the shops no signs, the buildings no numbers, the clocks no hands. There were no policemen, except the costumed kind. The revelers wouldn’t talk to us. They didn’t seem to speak at all.
    Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

  • Knock on Any Door

    Rooftop for Babel

    And hidden within
    may be someone with a gun
    who will shoot you for fun,
    or massacre your children.
    Knock on any door and hidden
    within may be someone with
    a bomb who will blow up a
    marathon, or someone with a
    dungeon who kidnaps helpless
    woman for his twisted and
    demonic idea of a love-in.
    Knock on any door and hidden
    within may be a bigot, rapist,
    anarchist, racist, liar, cheater,
    sexist, wife beater, child molester,
    war monger, charlatan, corporate
    raider, labor exploiter, blind
    follower, manipulator, ethnic
    cleanser, religious discriminator,
    gay-basher, white supremacist,
    trigger happy wannabe cop or
    simple two-faced hypocrite.
    Knock on any door and hidden
    within may be the most monstrous
    creature in the animal kingdom –
    a human.

  • Swiftly Pass the Days

    Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

    The big fat yellow sun, dawn,
    and pretty soon noon, then the
    moon, life goes on.
    It is freezing outside, Tanner
    knows, screw the phony baloney
    glow in the walk-up window.
    This is Chicago. He’d be
    lucky if the temperature climbed
    to zero and it didn’t snow. Tanner
    showers, shaves, dresses in his
    best, fully aware that in the flimsey
    topcoat he’ll freeze off his nuts.
    “How Not To Live While You
    Die.” Tanner ponders the
    title of his forthcoming novel,
    as he hops the EL for his daily
    journey through hell, applying
    for jobs that, like the little man
    upon the stair, aren’t there.
    “The compelling story of a guy
    trying to get by. It will make
    you cry.”
    The train speeds through the frigid
    streets, racing toward noon, racing
    toward night, toward the morning
    of the next day and another big
    fat yellow sun glaring at him,
    like a blind eye in the winter
    sky.

  • Like a Circle in a Spiral

    Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

    The view from Ingbar’s windows: skyscrapers, cathedrals, pricey boutiques,
    upscale restaurants, wine bars, bistros, bookstores, cafes, parks with sparkling
    fountains, marble statues, flower gardens. The gallery where he shows his art
    regarded by many as the “best in the city.”

    Life is beautiful, for Ingbar. And yet, he knows, this is a cold, mechanistic planet
    we inhabit, for everyone, even those few blessed, as he is, with fate’s good fortune –
    a world spinning like a gyro in a universe indifferent to our wishes, dreams, fears,
    passions. One that will do what it must with us, just as trapped as we are in its
    dominion of cause and effect relationships, jigsaw puzzle dynamics, laws of physics.

    While all things aren’t predictable, all things are inevitable. The past and the future
    are imbedded with each other. In this cosmic confection, we can forget about concepts
    like free will, good, evil, god, the devil, or that bootstraps pull. We can forget about
    chance or miracle. It is all much more illusive than that, the confluence that begets
    blessings or regrets.

    “I paint fate,” Ingbar writes in his artist’s statement, “dolls who dream, marionettes
    who emote, toys and puppets with hearts and souls. I found life was a series of domino
    events, falling down on each other along an existential terrain that I could predict but
    not escape or prevent – like Vietnam, or its foremath, aftermath, that whole era, any era,
    my father’s, grandfather’s, great grandfather’s, war, tyrants, discrimination, global
    depressions, this one with the economy tumbling down, everyone rolling with punches
    in a fight they didn’t start and could easily have been avoided by smart political action –
    no more than a puppet can manipulate its strings.”

    We are players on a stage, Ingbar quickly learned, not authors or directors, each with
    preassigned parts to play, major or minor, good or bad it didn’t matter, predestined was
    the operative word. The script was written long ago, in one big bang, over which, as the
    stars burn out, the curtain will ultimately close.

    Actually the “performance” is less a play than the actions and reactions of a motion
    contraption – humankind a conglomeration of biological gadgets gyrating to the dynamics
    of chemistry and physics. Which does nothing to diminish our intense capacity to experience
    the miracle and wonder of it as we briefly robot through it.

    Ingbar found it a pity that the mechanism cranking out our story has so little humanity,
    so much suffering and misery for which there is no necessity.

    Why can’t the script be changed, the gears rearranged, at least on our small planet
    by social dynamics to make life balanced and fair so all the puppets can live better?
    Since the game is rigged why not give it a little tweak or jig so that all get a share and
    no one knows despair? Maybe it was already heading there as mankind slowly became more
    mature and figured out its necessitarian nature?

    As for that flat line? All in due time. Right now, in Philly, Spring is in the air, love is in
    the air, cherry blossoms everywhere.

    “POP”

    I wander through the museum
    and ponder my favorite painters:
    Hopper, Turner, Gauguin, Daumier,
    Van Gogh, Goya, El Greco, “Blue
    Period” Picasso, Valesquez.
    I like these most because they have
    passion and soul and aren’t afraid of
    the dark side of life and its mysteries.
    Of course there’s the galleries where
    wild flowers and butterflies dance on
    walls under sunny skies – Matisse,
    Miro, Calder, Mondrian, Sisley, Chagall,
    and all the heaven-on-earth Impressionists
    with those sweet colors and sumptuous
    shapes making a harmonious symphony
    of reality. Some artists can take you to
    La La land, where life is beautiful and
    living is grand.
    I’m not sure where they’re coming from.
    No place I’ve been. But more power to
    them. We definitely need those rose
    colored glasses to look through now
    and then..
    As for me, I paint what I see – the poor,
    the wretched, poverty – the bottom of
    the heap, where most of the world is,
    has been, and always will be.
    Someone said societies reveal themselves
    by what they throw away. This was the
    whole point of the “Pop” movement,
    Warhol, Johns, Oldenberg, Lichtenstein.
    Good point, rendering the swill of the
    material world, an irony. But it misses
    a better one. We discard lives in America,
    perfunctorily, trash souls relentlessly.
    Why not paint those?