a response in verse for M.N.W.
1.
the muses and me,
nine of them, one of me,
the muses and God, the company I keep
2.
how could you, to show your appreciation,
with music, bludgeon your customers, your passengers
just as well use a club
when they’re all inside, when the doors are closed
let them have it, blows upon the head, upon the nose
until bloody
what they get for support shown, for patronage
this is what their money buys,
endless supply of hits in the face,
hits from below, from on high
in the cathedral, during mass, Even Song,
at a wedding, at a funeral, organ music, like perfume,
fills the church up to its high ceiling,
bathe the people in pews, present to worship
this planet, more and more,
like a warship we were traveling on, sailing on,
spinning, turning without end
will all life on it, end up down the drain,
the dream, down the drain
3.
more and more,
with my tongue alone,
able to shove open shut doors
4.
line of verse must lift weights
when insufficiently muscular
or who writes them down, puts them on paper
this pen in my fist is a weight to lift
unprepared to put it down
it’s my ammunition, it’s my movie camera
its weight to me, familiar to me, second-nature to me
pass what pass out through me, what pass into me
with shovel, with grub-hoe, with pick-ax,
a farmer, a gardener plants and grows
a grove, an orchard,
fruit trees, heavy down, it’s harvest time
the mangrove swamp, with trees with roots
above the ground to brace them up
5.
der pendulum must swing
all the way north den all the way south
like der tongue of a bell, otherwise no meaning, no sound
each second must be used up
before the following second drips,
drops into existence
6.
army of ants
for what event are they on the move, on the march
in such numbers
what in ant history being commemorated,
along my bathroom wall
my house, but they’re unaware of this
their path, something, somewhere they possess
they connect by their numbers, sheer multitude
river of black ants across white wall
wish I knew what event this was/this is
uninvited, though this ceremony, celebration,
happy or sad occasion, occurring in my abode
had I insecticide spray, I’d decide
what could and what could not take place
tens-of-thousands in procession, I’d annihilate
I recall the chosen, crossing the Red Sea
it parted for them
exodus from Egypt was not to be thwarted,
was not to be aborted
how ant-like we humans are
in comparison with who created the universe
at times we’re saved, at times we’re sifted
7.
her smile, bigger than she is, prettier than she is
as if competing with her as two sisters might
her smile so big, is so very bright
are such pretty white, perfect white teeth
numbered among the 206 bones contained in her body
her smile is without flaw, her teeth without gap
8.
she is very delicately made
on the stage/in my arms, the distance crossed
in her white dress, her small ripe breasts
why does she shake so
she trembles when she comes to the edge of her world,
of what is reality for her, refusing to cross, to go forth
she’s delicately made, her bones protrude,
her elbows, about her wrists, her pelvis bones,
her ankle bones
in spite of this she’s pretty as can be
maybe she has too much sugar for me,
too much fat or too much grease
TCBY is said to be fat-free
growing up, the things I would eat/could eat
O Henry, Kit Kat, Ritz,
sausage, Potted Meat, Weenies,
bacon, cheese
how very long I’ve not had a meal of eggs,
a bowl of oat meal
9.
the sunsets, sunrises we’ve slept through
spectacular light shows
we age anyway, day by day
eventually full of days, full of nights
we turn grey rather than full of the colors of sunrise,
of sunset
those moments of glorious silhouettes
lights in the background, from instant to instant changing
in the foreground, the black leaves of trees,
the patterns of these
the distance, the difference,
between heaven and here, heaven and earth
the distance between
the sun, the moon, the earth
10.
budding leaves, budding wings
when will what we write be able to fly
take leave of earth at will and alight
until this is achieved, the audience will leave
before the curtain comes down
before the mouth of our would-be poet
closes
11.
she knows not how to aim at art,
she misses therefore, fails to hit it
what does she target, what is her target
Zen in the Art of Archery might help, might assist,
once she’s receptive
I know a man who writes, who refuses to read
he says his fear is other writers’ influence
is this excuse, is he too lazy to engage in the labor
craft of writing requires
writer needs vocabulary, hers is very tiny
as well as very weak
from insufficient reading, insufficiently strong
unable to wrestle, to put into place,
stubborn words, stubborn verse, stubborn lines
rejecting her authority
choosing to have their own way, their own say,
undermining constantly
what she attempts to make words say
12
tongue in the bell bangs back and forth
for the story to be told
all the way forth and all the way back
until the bell is black and blue
and gold
13.
give her my footsteps to step in, to walk in
until she has her own steps, her own story
to step in, to tell
her own spell to cast, her own words to spell
Ryan’s daughter and the professor, on a stretch of beach
their steps washed by waves
© Obediah Michael Smith, 2006
8 Comments:
Okay, let me say that this piece is about me and my performance. Do you truly dear to attach my initials again? You are entitled to your opinions about everything, but why should I walk in your footsteps? As poets (would-be poets), we are as great as we make ourselves, then others follow. So far, I am the only poet I know who respects your work. This poem is very shifty, very watery, and I don't think it should be published because it is overly opinionated about a real event, for which it seems to attempt to adjust others' perception of what actually happened.
Obie (and Nathalie, if you're reading this), I missed Nathalie's show because I was not well (Philip went), and so I was interested in the two different resonses. I've got the book and have only skimmed through it, but now I'm thinking about reading and reviewing it myself.
But (and this is for Nathalie) Nathalie, you are by no means alone in respecting Obediah's work. If you're the only poet that you know who does, then Obie has a point; most of the established Bahamian poets I know who are currently working and writing respect his work immensely, from the multiply-awarded Marion Bethel to Patrick Rahming to Susan Wallace to Robert Johnson to Patricia Meicholas to the next generations including Ian Strachan and Lynn Sweeting and Helen Klonaris and Asha Rahming and myself. (Our work can be found in bookstores, collections and on the web.)
Speaking for myself, I devoured the work of Obediah, of Ashley B. Saunders, of Pat Rahming, and of Robert Johnson as a young writer. Marion's work came later. Of them, I was most influenced by Pat's and Obie's work, and still believe that very few Bahamians have met their standards yet. To be critiqued by Obediah is a privilege indeed; to have a poem in ten movements written about oneself is even more of one, to my mind.
And trust me, yours isn't the first real event that's been channelled and changed through Obie's pen. Obie writes about life. Real people fill his books. In the beginning he was writing and critiquing Picasso and T. S. Eliot and Thelonius Monk (you'll have to go back to Ice Cubes and 53 Poems and Acts for some of those). Go have a look at Acts; every one of those movements is based on something real, something historical. It's what Obie writes.
Entertaining indeed!
Nathalie, I read Obie's inspirational enlightening and critique on your recent performance and was moved.
His words reminded me of a prior critique he did some years ago: a critique of my then upcoming book, "Fattening up frog for snake." In it he said: "Reading your poems makes me sick of words, sick of the sight and taste of words. I look for forest and all I get are trees. I go to a window not to look at the glass but to look out. Your words must be window, clean, clear. I wish to see through them into the beyond/into what's beyond. And there is occasionally something beyond but too often your grammar, vocabulary, word order obscure them, mix with them, make mush, make a mess. Your words, carefully chosen, must be fixed in place."
He went on to say, "You use words sloppily...like a drunk going home, cussing, waving his arms and falling down. What of the cowboy, his two guns drawn, blazing, bullets flying, as steady as a rock with the other fellow falling. Your music (versification) is your one redeeming poetic factor but even this is overused and collapses into monotony...Your choice of subjects I find is worth exploring. There is some message in range of subjects you leap upon and bring together, lashing them round with/in lines of verse. Though I wonder about the strength of each line -of what is each line made -twine, thread, chord, string, wire, nylon? Should lines of your verse all be made of the same material, at least the lines a each single poem? And from where are you pulling your verse chord? From heaven of hell or inspiration or intellect, your heart, your balls or from a sweater unraveling or a sock unraveling? From where is your poetry coming? Are you ejaculating it?"
He then closed with, "Grateful for this opportunity though I seem annoyed by it -though I seem only able to complain."
I reprinted all this to echo several points.
1. Obie is brilliant and is dedicated to his craft. For that alone, I appreciated his comments. Subsequently, I revisited my work, and saw one or two areas in which Obie was indeed right within his critique. I saw that there existed a sea of words within my work, where one can be easily drowned.
2. I acknowledged, that although brilliant and apt, Obie may have err within his intepretation of my work. (The reason for this opinion, I will conclude with at the end).
3. Obie and I clearly write in different styles, mine require more words and colourful garnish). (smiling); as we write for different audiences.
4. If you haven't already purchased, "Fattening up frog for snake," kindly note who wrote the introduction; Mr. Obediah Smith himself. I dare say he lends credit to my masterpiece.
5. Finally, Obie's books and my book came out almost around the same time. In fact, our books sit side by side in several leading book stores. However, at United Book Store, my book sold out in months, Obie's books lovely as they are, (I have all three, plus a prior one, not to mention a tape), still lags. At Chapters, my book moves, and usher debates, consequently giving me some positive notoriety around campus. But then again, everyone knows me there. I've been there long enough! Also at the Island Book Store, the sales persons requested that I bring more books in due to demand. I have already delivered them three sets.
All this to say, good luck with your venture. Good luck with your sales, and hopefully your next reading is received better!
Regards,
CAN
Correction with regard to Obie's poems:
43 Poems
Bicentennial Blues
Nicolette, I do hope you read this. I think it's pretty funny how you basically summed me up to making myself out to be the--only--poet who respects Obie's work.
I've been interacting with Obie for over ten years now, and every time I say something positive about Obie's work, there were negative criticism. This was my reason for starting my sentence off with "So far..."
Please do not get me wrong. I do not exist in this world by myself, so I know he has inspired other poets. This is not Obediah's first verse about me. I am quite familiar with his books.
I met you and some of the poets you acknoweledged. We never engaged in a conversation... I would like to go on record saying that Obie knows that he inspires me. As a matter of fact, his heavy criticism...directs my path.
Nathalie, when you say "I think it's pretty funny how you basically summed me up to making myself out to be the--only--poet who respects Obie's work" know that I wasn't summing you up by anything but your own words. In your first comment to Obie's post above, you wrote:"So far, I am the only poet I know who respects your work."
I just wanted to share the fact that many Bahamian poets respect Obie and his work. That you've met some of us suggests that you're not the only poet you know who does so.
Until I read your book, the only thoughts I can have about you work are based on what you've written online. I can honestly say that Obie's poem -- which reveals more about him than about the production, to my mind -- hasn't tainted my thoughts. I judge him by what his words. I'll judge you by yours.
"So far, I am the only poet I know who respects your work."
In my mind this quote is clear. It simply suggests that prior to now, I hadn't known anyone else who respects Obie's work until you revealed it. Even now I can't attest your facts. It has to come from the source. Otherwise, I would have to say according to you...
Just because I met someone does not mean I know what they like. It takes things such as conversations for one to learn something new even if it is old to you.
I am grateful to find such an exchange going on behind my back as it were. What I find most intriguing though is this degree of energy and intellect in a debate of our literature or our attempt to establish one.
If only this debate can be move onto centre stage, nationally, only with less ego, with less personal defense and more love of logic and language, that the mentality of our entire nation would be heightened, lifted way up from where it is.
Nico and Cecil, how honored I am by your respect but even more by your knowledge of, your attention to, my work and my thoughts.
Nathalie, I appreciate your claiming to respect my work and I thank you; only your appreciation does not seem to have much potency, unless you're incapable of articulating it, in the face of every writer about you or in your circle, who is unable to appreciate my work as you do.
They seem to have caused you to doubt rather than your having cause them to believe.
If you have a hammer or a sword on my behalf, I'd appreciate you more if you used it. This is what we must do for what we believe or for whom we believe in.
For humility and for clarity I pray for us all.
Some among us have ended up with education which has been unaffordable or for other reasons, unavailable to some others of us. And some of us are educated in one area and others in another.
Often in our community, this results in envy and even contempt.
Some educated persons among us are unwilling to teach and to share, but a worse problem, I find, is the unwillingness of a far greater number of persons to receive and to learn.
Too many among us are not receptive and are instead, unaddressable. We keep ourselves back as well as us all. This has to change for us to get where we should have been long ago as a people, as a nation.
Slavery still has so many of us so sick, psychologically.
I want to learn and learn from whomever I can, constantly. I welcome teaching from all who know what I need to come to know.
Bahamian too bigity, even the most ignorant among us. And no, this is not culture but is instead, the very lack of culture.
We need humility. We need cultivation. Too often, nationally, what is claimed as Bahamian culture is actually a lack of cultivation.
Where this is the case, I want no part in it and no part of it. Whoever wishes to claim it can keep it.
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