William Logan: Difference between revisions
Created page with "From Vain Empires (1990), exemplary of the smooth postmodern style of that time. Decadent inhabitation of the encyclopedia of western culture. late 90s disdain for Christianity." |
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From Vain Empires (1990), exemplary of the smooth postmodern style of that time. Decadent inhabitation of the encyclopedia of western culture. late |
From Vain Empires (1990), exemplary of the smooth postmodern style of that time. Decadent inhabitation of the encyclopedia of western culture. late 20th c. sneering at Christianity? |
||
[must spell check] |
|||
JOSEPH BANKS AND THE BOARD OF LONGITUDE |
|||
One might in youth concede to investigate |
|||
such practices of the cod as require the French |
|||
to creep within their bark-lined suits |
|||
and split the fish in woolen gloves, |
|||
not touching the violet entrails, |
|||
or take ship to observe the transit of Venus, |
|||
to crawl along a caterpillar of coast |
|||
where among the fray of moral appetites |
|||
vast cabinets might be filled with skins |
|||
as rare as scrolls, and eggs whose translucences |
|||
were not inferior to the morning star. |
|||
Bligh suffered for his breadfruit trees. |
|||
a nicety not recognized at feasts |
|||
where the tropical Pacific changed to wine |
|||
and natives traded frail songbirds wrapped in net |
|||
for the hand-carved crosses of the gods. |
|||
These gods take breakfast on the flying fish |
|||
or such idle and unprofitable specimens |
|||
as would exempt themselves from human company |
|||
and might enamor the queen who should not cluise |
|||
to encumber herself with the stuffed animals. |
|||
Against those who in the European disease |
|||
would place geometry in distant suns, |
|||
one would rather stand within the homely science |
|||
of gears, escapement, of the movement of hands. |
|||
Pears in Solitude |
|||
A blackbird vacantly delouses the hedge, |
|||
yellow beak pointing like the weathercock, |
|||
now west, now east, but having heard |
|||
of infestations elsewhere, he takes his leave, |
|||
too sadly, perhaps, to be believed. |
|||
The weathercock turns his back on us, |
|||
and on the slates the last gale cracked. |
|||
His old pretense—he’s nowhere else to turn. |
|||
We turn our backs on him. No matter the weather, |
|||
rusty sun or bright scholarly rain, |
|||
his sullen demeanor must be maintained. |
|||
Even the pears turn inward, according to |
|||
the demands of saintly meditation. |
|||
Gathered in twos or threes they might |
|||
whisper against the apples of South Africa |
|||
or unripe limes from the generals of Brazil. |
|||
Alone, they cannot contrive |
|||
a change—but look! The weather is changing. |
|||
Those rags of cloud that all afternoon |
|||
threatened to wipe the sky with a murderous rain, |
|||
the fifth this week, have torn themselves up, |
|||
the yellow scraps ol forsythia, so savagely pruned, |
|||
are blooming in the brushpile, and on the river |
|||
mallards argue fluid mechanics. |
|||
Now the blackbird is back, mouthing a shred of reed, |
|||
a belated peace offering, but not to us |
|||
nor to the regal crocus rising from earth. |
|||
There’s an unsaintly gleam in the weathercock’s eye. |
|||
Florida Pest Control |
|||
The blonde unlocks |
|||
her daddy’s Firebird, |
|||
blood-red as a tropical fish. |
|||
Privilege, that old bete noire^ |
|||
shakes its head in her exhaust. |
|||
Her rear lights swim |
|||
in a fantail’s glide. |
|||
The South exists, |
|||
I write my liberal friends, |
|||
with its wage slaves |
|||
and Burger King estates |
|||
in burning, frivolous pastels. |
|||
No one can dream it away, |
|||
though plasma centers drain |
|||
the blood of black and white, |
|||
our ball and chain. |
|||
The houses turn to dust |
|||
beneath us, gnawed by termite, |
|||
beetle, or the fear of God. |
|||
Only the past can’t be exterminated. |
|||
Down the street Christo’s men |
|||
sheathe a house in red plastic |
|||
and pump three days of poison in. |
|||
Last year two hapless thieves |
|||
broke a lock and wandered through |
|||
a termite-ridden house in Tallahassee. |
|||
They choked to death |
|||
in twenty minutes. Christ! |
|||
The Shadow-Line |
|||
A shadow loon flies from the glassy lake |
|||
over mangroves and the freshwater pond |
|||
where a lone canoeist casts between the fronds |
|||
lying along the shore like broken rakes. |
|||
He shatters the inky lacquer where the stars |
|||
are scattered like a pinch of cooking salt |
|||
in the old recipes. It’s no one’s fault. |
|||
The red dot on the tree line must he Mars, |
|||
or just a radio tower blinking, blinking |
|||
messages two lovers might overlook. |
|||
Night fish are rising to the maggoty hook. |
|||
I can’t tell any longer what you are thinking. |
|||
The shadow of the loon will soon embrace |
|||
the shallows of the continental shelf |
|||
as night becomes a shadow of itself. |
|||
Another shadow passes over your face. |
|||
We used to spend summer nights listening to jazz |
|||
rude subtleties of the horn! Now we discuss |
|||
surrendering to what will happen to us, |
|||
or ought to, or perhaps already has. |
|||
Nocturne Galant |
|||
She stalked like a goddess on carpet |
|||
through our two-star rented room, |
|||
indifferent to her hare bottom |
|||
or the cruelties of perfume |
|||
that drifted up from the whores |
|||
who kissed on the neon walk |
|||
the Marines who gave nothing but money |
|||
and got nothing back but talk. |
|||
Our argument lasted till midnight, |
|||
the right of it nothing but wrong. |
|||
I laughed in my borrowed tuxedo. |
|||
She cried into her sarong. |
|||
True love would climb the Himalayas |
|||
or drink the Amazon dr\' |
|||
and promise to promise forever |
|||
but never ask a girl why |
|||
true love has the tongue of a tyrant |
|||
who makes the traitor confess |
|||
to treasons he has not committed. |
|||
The poet knows little or less. |
|||
And no one remembers the reasons, |
|||
the boring and terminal sighs, |
|||
the casualties of inbreeding, |
|||
the crocodile tears in her eyes. |
|||
1 promised her that Td be faithful |
|||
with all my faithless heart |
|||
for a month or until next Tuesday. |
|||
Love lies, and so does art. |
|||
- |
|||
Raison d’Etat |
|||
The daffodils have pierced the crust of April |
|||
like spears gripped in the hands of Roman soldiers |
|||
still buried in the fenland’s ancient marshes |
|||
where ravens starved of corpses tear each other. |
|||
Decay can never penetrate the bodies |
|||
of soldiers who have fallen in the marshes |
|||
or morning papers casually recording |
|||
that in a dusty Middle Eastern schoolroom |
|||
a man was wired naked to a chair back, |
|||
his legs spread open like a pregnant woman’s |
|||
to let a boyish Christian flare his lighter |
|||
again and again upon the prisoner’s skin |
|||
while outside dirty children heard his screams. |
|||
The soldiers failed to gain what information |
|||
had led them to the village and the schoolroom. |
|||
In England there are villages and schoolrooms |
|||
where children learn by rote the information |
|||
that king by king will pass examinations |
|||
while yellowed charts display their fathers’ empire |
|||
whose altered names by rote they have remembered, |
|||
the climate, population, and chief products, |
|||
the photographs of charming native customs: |
|||
the doctors stand in feathers and regalia, |
|||
the chieftains cure incurable diseases. |
|||
They are not taught the politics of reason, |
|||
why doctors in their white coats gently handle |
|||
the sleeping prisoners they’ve strapped to gurneys |
|||
to ease into their arms the sterile needles |
|||
and drain each body of its quarts of blood. |
|||
The blood is shipped to save the lives of soldiers |
|||
who are not soldiers but are school-age children |
|||
sent unarmed to clear paths through enemy minefields, |
|||
to lie across the ribbons of barbed wire |
|||
and let their bodies serve the feet of others |
|||
who fly like cuckoos to nests of machine guns |
|||
where if they die they die official martyrs |
|||
who in their heaven will be singing warriors |
|||
and will not need the sterile bags of blood. |
|||
The doctors now are running out of needles. |
|||
Latest revision as of 04:51, 31 January 2026
From Vain Empires (1990), exemplary of the smooth postmodern style of that time. Decadent inhabitation of the encyclopedia of western culture. late 20th c. sneering at Christianity?
[must spell check]
JOSEPH BANKS AND THE BOARD OF LONGITUDE
One might in youth concede to investigate
such practices of the cod as require the French
to creep within their bark-lined suits
and split the fish in woolen gloves,
not touching the violet entrails,
or take ship to observe the transit of Venus,
to crawl along a caterpillar of coast
where among the fray of moral appetites
vast cabinets might be filled with skins
as rare as scrolls, and eggs whose translucences
were not inferior to the morning star.
Bligh suffered for his breadfruit trees.
a nicety not recognized at feasts
where the tropical Pacific changed to wine
and natives traded frail songbirds wrapped in net
for the hand-carved crosses of the gods.
These gods take breakfast on the flying fish
or such idle and unprofitable specimens
as would exempt themselves from human company
and might enamor the queen who should not cluise
to encumber herself with the stuffed animals.
Against those who in the European disease
would place geometry in distant suns,
one would rather stand within the homely science
of gears, escapement, of the movement of hands.
Pears in Solitude
A blackbird vacantly delouses the hedge,
yellow beak pointing like the weathercock,
now west, now east, but having heard
of infestations elsewhere, he takes his leave,
too sadly, perhaps, to be believed.
The weathercock turns his back on us,
and on the slates the last gale cracked.
His old pretense—he’s nowhere else to turn.
We turn our backs on him. No matter the weather,
rusty sun or bright scholarly rain,
his sullen demeanor must be maintained.
Even the pears turn inward, according to
the demands of saintly meditation.
Gathered in twos or threes they might
whisper against the apples of South Africa
or unripe limes from the generals of Brazil.
Alone, they cannot contrive
a change—but look! The weather is changing.
Those rags of cloud that all afternoon
threatened to wipe the sky with a murderous rain,
the fifth this week, have torn themselves up,
the yellow scraps ol forsythia, so savagely pruned,
are blooming in the brushpile, and on the river
mallards argue fluid mechanics.
Now the blackbird is back, mouthing a shred of reed,
a belated peace offering, but not to us
nor to the regal crocus rising from earth.
There’s an unsaintly gleam in the weathercock’s eye.
Florida Pest Control
The blonde unlocks
her daddy’s Firebird,
blood-red as a tropical fish.
Privilege, that old bete noire^
shakes its head in her exhaust.
Her rear lights swim
in a fantail’s glide.
The South exists,
I write my liberal friends,
with its wage slaves
and Burger King estates
in burning, frivolous pastels.
No one can dream it away,
though plasma centers drain
the blood of black and white,
our ball and chain.
The houses turn to dust
beneath us, gnawed by termite,
beetle, or the fear of God.
Only the past can’t be exterminated.
Down the street Christo’s men
sheathe a house in red plastic
and pump three days of poison in.
Last year two hapless thieves
broke a lock and wandered through
a termite-ridden house in Tallahassee.
They choked to death
in twenty minutes. Christ!
The Shadow-Line
A shadow loon flies from the glassy lake
over mangroves and the freshwater pond
where a lone canoeist casts between the fronds
lying along the shore like broken rakes.
He shatters the inky lacquer where the stars
are scattered like a pinch of cooking salt
in the old recipes. It’s no one’s fault.
The red dot on the tree line must he Mars,
or just a radio tower blinking, blinking
messages two lovers might overlook.
Night fish are rising to the maggoty hook.
I can’t tell any longer what you are thinking.
The shadow of the loon will soon embrace
the shallows of the continental shelf
as night becomes a shadow of itself.
Another shadow passes over your face.
We used to spend summer nights listening to jazz
rude subtleties of the horn! Now we discuss
surrendering to what will happen to us,
or ought to, or perhaps already has.
Nocturne Galant
She stalked like a goddess on carpet
through our two-star rented room,
indifferent to her hare bottom
or the cruelties of perfume
that drifted up from the whores
who kissed on the neon walk
the Marines who gave nothing but money
and got nothing back but talk.
Our argument lasted till midnight,
the right of it nothing but wrong.
I laughed in my borrowed tuxedo.
She cried into her sarong.
True love would climb the Himalayas
or drink the Amazon dr\'
and promise to promise forever
but never ask a girl why
true love has the tongue of a tyrant
who makes the traitor confess
to treasons he has not committed.
The poet knows little or less.
And no one remembers the reasons,
the boring and terminal sighs,
the casualties of inbreeding,
the crocodile tears in her eyes.
1 promised her that Td be faithful
with all my faithless heart
for a month or until next Tuesday.
Love lies, and so does art.
-
Raison d’Etat
The daffodils have pierced the crust of April
like spears gripped in the hands of Roman soldiers
still buried in the fenland’s ancient marshes
where ravens starved of corpses tear each other.
Decay can never penetrate the bodies
of soldiers who have fallen in the marshes
or morning papers casually recording
that in a dusty Middle Eastern schoolroom
a man was wired naked to a chair back,
his legs spread open like a pregnant woman’s
to let a boyish Christian flare his lighter
again and again upon the prisoner’s skin
while outside dirty children heard his screams.
The soldiers failed to gain what information
had led them to the village and the schoolroom.
In England there are villages and schoolrooms
where children learn by rote the information
that king by king will pass examinations
while yellowed charts display their fathers’ empire
whose altered names by rote they have remembered,
the climate, population, and chief products,
the photographs of charming native customs:
the doctors stand in feathers and regalia,
the chieftains cure incurable diseases.
They are not taught the politics of reason,
why doctors in their white coats gently handle
the sleeping prisoners they’ve strapped to gurneys
to ease into their arms the sterile needles
and drain each body of its quarts of blood.
The blood is shipped to save the lives of soldiers
who are not soldiers but are school-age children
sent unarmed to clear paths through enemy minefields,
to lie across the ribbons of barbed wire
and let their bodies serve the feet of others
who fly like cuckoos to nests of machine guns
where if they die they die official martyrs
who in their heaven will be singing warriors
and will not need the sterile bags of blood.
The doctors now are running out of needles.