Browsing 7 posts in Poetry

News | Poetry

T.S. Eliot and antisemitism, continued…

by · 10/11/11

The Yale University Press recently published two volumes of letters written byT.S. Eliot. The letters were originally released in 1988 by Penguin. Below is a description of the nine-hundred page, two-volume set:

Volume One: 1898–1922 presents some 1,400 letters encompassing the years of Eliot’s childhood in St. Louis, Missouri, through 1922, by which time the poet had settled in England, married his first wife, and published The Waste Land.

Volume Two: 1923–1925 covers the early years of Eliot’s editorship of The Criterion, publication of The Hollow Men, and his developing thought about poetry and poetics.

William Logan, an accomplished poet and literary critic, reviewed the collection for the New York Times in the Sunday Book Review. He titled the review “T.S. Eliot’s Rattle of Miseries,” referring not only to the poet’s slew of financial and personal problems but as well his inclinations towards racism, misogyny and antisemitism. Logan writes, “after a poet is dead, his letters are the windows to his soul — or perhaps just the cellar doors,” and so we, as readers, are granted an insight into Eliot’s private life as a struggling banker, husband, artist and modest literary maverick. Read more »

Poetry

Emanuel Litvinoff vs. T.S. Eliot

by · 10/11/11

The English poet Emanuel Litvinoff died September 24th, 2011.

Litvinoff by Brick Lane, 1972

He is best known for his contentious relationship with T.S. Eliot, whose blatant antisemitism Litvinoff came to view as egregious. In 1948, Eliot republished his controversial poem “Burbank With a Baedeker: Bleistein With a Cigar” in an anthology titled Selected Poems. “Burbank” was originally published in 1920, long before the Holocaust. The poem recalls Shakespeare’s The Merchant of Venice, in particular the antisemitism that Shylock endured as a merchant who charged interest. Bleistein is cast as a money-hungry Jew, not far removed from a rat. This was a misstep that Litvinoff, an ardent fan of Eliot for decades, was willing to ignore because he did not believe that Eliot was truly anti-Semitic. In 1948, post-war Europe was still reeling, and “Burbank With Baedeker: Bleistein With a Cigar” resurfaced. Litvinoff was incensed.

His most acclaimed poem, To T.S. Eliot, was the result. In a famous reading of this poem given at the opening of the Institute of Contemporary Arts in London, Litvinoff decried Eliot, who surprised everyone at the event when he turned up unexpectedly. Litvinoff read his poem all the same, claiming, “Eminence becomes you” and “I am not accepted into your parish./Bleistein is my relative.” The room jeered afterwards, calling Litvinoff’s poem an outrage, and even the poet Stephen Spender went as far as to say, “I objected to Mr. Litvinoff’s poem because he was classing Mr. Eliot with the people who committed atrocities on Jews.” Read more »

Berlin | Features | Journal | Poetry

Eight Poems

by · 03/13/11

I crept beneath Berlin
and lived like a rat
from the drains of people
who sat around the table.
When the bells tolled
we cowered and winced
and held our Jewish ears

Read more »

Elsewhere | Poetry

World Cup: Poetry in Motion

by · 07/12/10

“Soccer,” our friend Alexander Hemon recently observed, “is like literature. It provides access to a country. No one reads books just from their own country.” Certainly an “un-American” sentiment if I’ve ever heard one, but one that caught our attention. And so we thought: what better way to honor Spain’s long-awaited World Cup victory than with some classic Sephardi poetry, translated by the great Peter Cole?! Moshe Ibn Ezra’s  ”The World” seems particularly apropos:

The World

Men of the world have the world in their heart,
God set it in them when they were born—
it’s a flowing stream that won’t suffice
though the sea becomes its source,

as if its water turned to salt
when a parched heart called out to them—
they pour it from buckets into their mouths
but their thirst is never quenched.
Or, for the morning after, Ezra’s “Weak With Wine.”

Weak with Wine

We woke, weak with wine from the party,
barely able to get up and walk
to the meadow wafting its spices—
the scents of cassia and cloves:

and the sun had embroidered its surface with blossoms
and across it spread a deep blue robe.

And finally, in the spirit of good sportsmanship, here is contemporary Dutch poet Judith Herzberg (translated by Shirley Kaufman in conjunction with the author) reflecting on a sound that was repeated (no doubt too many times) throughout the yellow-card flooded game.

OW!

Could there be such a thing, a law
for the conservation of pain,
so that if we fight it here,
someone somewhere will be hurt
worse than the sound of ow?

Or does pain, like energy
(sorry, analogy), transform itself
not into heat, but somehow
into a kind of freeze
worse than the sound of ow?

Or could it be the pain we drive out
takes on a different form,
unlaughed, unsung, disavowed,
stiffens our pain-thirsty bodies
aching for the sound of ow?

Moscow | Features | Journal | Poetry

Seven Hours One Minute

by · 01/21/10

Seven Hours One Minute[This is the shortest day of the year in our neck of the woods.]

The divergence of animals, said Khlebnikov
is the result of their ability
to see God in many different ways.

If the Universe, said Hawking
was different, we still
would not notice.

From Chanel to Escape (remembered
one pretty fashion magazine)
in every year death has a different scent.

There are these people, writers
who have everything written down
the tics and the tacs
in place of numerical facsimiles

Read more »

Poetry

“September 1, 1939″ by W.H. Auden

by · 09/02/09

I sit in one of the dives
On Fifty-second Street
Uncertain and afraid
As the clever hopes expire
Of a low dishonest decade:
Waves of anger and fear
Circulate over the bright
And darkened lands of the earth,
Obsessing our private lives;
The unmentionable odour of death
Offends the September night.

Accurate scholarship can
Unearth the whole offence
From Luther until now
That has driven a culture mad,
Find what occurred at Linz,
What huge imago made
A psychopathic god:
I and the public know
What all schoolchildren learn,
Those to whom evil is done
Do evil in return.

Exiled Thucydides knew
All that a speech can say
About Democracy,
And what dictators do,
The elderly rubbish they talk
To an apathetic grave;
Analysed all in his book,
The enlightenment driven away,
The habit-forming pain,
Mismanagement and grief:
We must suffer them all again.

Into this neutral air
Where blind skyscrapers use
Their full height to proclaim
The strength of Collective Man,
Each language pours its vain
Competitive excuse:
But who can live for long
In an euphoric dream;
Out of the mirror they stare,
Imperialism’s face
And the international wrong.

Faces along the bar
Cling to their average day:
The lights must never go out,
The music must always play,
All the conventions conspire
To make this fort assume
The furniture of home;
Lest we should see where we are,
Lost in a haunted wood,
Children afraid of the night
Who have never been happy or good.

The windiest militant trash
Important Persons shout
Is not so crude as our wish:
What mad Nijinsky wrote
About Diaghilev
Is true of the normal heart;
For the error bred in the bone
Of each woman and each man
Craves what it cannot have,
Not universal love
But to be loved alone.

From the conservative dark
Into the ethical life
The dense commuters come,
Repeating their morning vow;
“I will be true to the wife,
I’ll concentrate more on my work,”
And helpless governors wake
To resume their compulsory game:
Who can release them now,
Who can reach the deaf,
Who can speak for the dumb?

All I have is a voice
To undo the folded lie,
The romantic lie in the brain
Of the sensual man-in-the-street
And the lie of Authority
Whose buildings grope the sky:
There is no such thing as the State
And no one exists alone;
Hunger allows no choice
To the citizen or the police;
We must love one another or die.

Defenseless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.

From poets.org

New Orleans | Journal | Poetry

Maelstrom

by · 09/23/08

Maelstrom

The Mold Song

it was one of a kind
the earliest map of the united states
it was hanging right here on the wall
the mold ate it all
in one gulp the mold ate it all
and these books the only copies
of newton franklin galileo
and this shakespeare folio
the mold ate them like they were candy
look at the satisfied grinning mold
stretching from floor to floor
like a fifties horror movie mold
not to speak of this stack of cash
I shoulda never kept around
not a zero left in the whole stack
look at me I’m growing old
I’m giving myself to the mold
it’s some kind of lesson
it’s some kind of horror story
keep collecting paper things
I knew that one day I’d be sorry
I’m not wearing a mask
I’m not wearing any gloves
I feel stupid I feel cold
I’m giving myself to the mold
halloween and suicide rolled in one
I shoulda sold I shoulda sold
only in new orleans only in new orleans
halloween and suicide all in one
a man of means