Monday, November 25, 2013

Frances H. Green - Song of the North Wind



A SELECTION FROM MY FORTHCOMING ANTHOLOGY, TALES OF TERROR: THE SUPERNATURAL POEM SINCE 1800...REDISCOVERING A LOST GOTHIC FEMALE POET....

FRANCES H. GREEN (1805-1878) -- SONG OF THE NORTH WIND

In the second edition of Rev. Griswold’s massive anthology, The Female Poets of America, only two or three women poets demonstrate a knack for the Gothic or supernatural. Frances H. Green, born in Rhode Island and a descendant of that state’s famed Whipple family, made her mark as journalist, editor and author on abolition, spiritualism, the Dorr Rebellion, and even, apparently, a textbook on botany. She had to have been one of the smartest women to come from Rhode Island, and her poems include an epic on the Narragansett Indians. Like Longfellow, she was steeped in Norse mythology, and in the following poem she joins in the line of Norse-inspired poems that Bishop Percy first collected, and which M.G. Lewis made a point of collecting in Tales of Wonder. The reference to Lapland with its legendary witches who can command the winds, shows that she researched her myths well. Her poem also stands out from the far more conventional poems Griswold gathered from her contemporaries in that it has an unremitting paganism and a masculine, one might even say, blood-thirsty, pleasure in depicting the carnage inflicted by storm winds, in an era when sea travel was hazardous and frequently fatal.

From the home of Thor, and the land of Hun,
Where the valiant frost-king defies the sun,
Till he, like a coward, slinks away
With the spectral glare of his meager day—
And throned in beauty, peerless Night,
In her robe of snow and her crown of light,
Sits queen-like on her icy throne.
With frost-flowers in her pearly zone —
And the fair Aurora floating free,
Round her form of matchless symmetry —
An irised mantle of roseate hue,
With the gold and hyacinth melting through;
And from her forehead, beaming far,
Looks forth her own true polar star.
From the land we love — our native home —
On a mission of wrath we come, we come!
Away, away, over earth and sea!
Unchained, and chainless, we are free!
As we fly, our strong wings gather force.
To rush on our overwhelming course:
We have swept the mountain and walked the main.
And now, in our strength, we are here again;
To beguile the stay of this wintry hour.
We are chanting our anthem of pride and power;
And the listening earth turns deadly pale —
Like a sheeted corse, the silent vale
Looks forth in its robe of ghastly white,
As now we rehearse our deeds of might.
The strongest of God's sons are we —
Unchained, and chainless, ever free!

We have looked on Hecla’s burning brow,
And seen the pines of Norland bow
In cadence to our deafening roar,
On the craggy steep of the Arctic shore;
We have waltzed with the maelstrom’s whirling flood,
And curdled the current of human blood,
As nearer, nearer, nearer, drew
The struggling bark to the boiling blue —
Till, resistless, urged to the cold death-clasp,
It writhes in the hideous monster’s grasp —
A moment — and then the fragments go
Down, down, to the fearful depths below!
But away, away, over land and sea —
Unchained, and chainless, we are free!

We have startled the poising avalanche.
And seen the cheek of the mountain blanch,
As down the giant Ruin came.
With a step of wrath and an eye of flame;
Hurling destruction, death, and wo.
On all around and all below,
Till the piling rocks and the prostrate wood
Conceal the spot where the village stood;
And the choking waters vainly try
From their strong prison-hold to fly!
We haste away, for our breath is rife
With the groans of expiring human life
Of that hour of horror we only may tell —
As we chant the dirge and we ring the knell,
Away, away, over land and sea —
Unchained and chainless — we are free!

Full often we catch, as we hurry along,
The clear-ringing notes of the Laplander’s song.
As, borne by his reindeer, he dashes away
Through the night of the North, more refulgent than day!
We have traversed the land where the dark Esquimaux
Looks out on the gloom from his cottage of snow;
Where in silence sits brooding the large milk-white owl,
And the sea-monsters roar, and the famished wolves howl;
And the white polar bear her grim paramour hails,
As she hies to her tryste through those crystalline vales.
Where the Ice-Mountain stands, with his feet in the deep.
That around him the petrified waters may sleep;
And light in a flood of refulgence comes down,
As the lunar beams glance from his shadowless crown.
We have looked in the hut the Kamschatkan hath reared,
And taken old Behring himself by the beard,
Where he sits like a giant in gloomy unrest,
Ever driving asunder the East and the West.
But we hasten away, over mountain and sea.
With a wing ever chainless, a thought ever free!
From the parent soil we have rent the oak —
His strong arms splintered, his sceptre broke:
For centuries he has defied our power.
But we plucked him forth like a fragile flower,
And to the wondering Earth brought down
The haughty strength of his hoary crown.
Away, away, over land and sea —
Unchained and chainless — we are free!

We have roused the Storm from his pillow of air,
And driven the Thunder-King forth from his lair;
We have torn the rock from the dizzening steep,
And awakened the wilds from their ancient sleep;
We have howled o’er Russia’s desolate plains.
Where death-cold silence ever reigns,
Until we come, with our trumpet breath,
To chant our anthem of fear and death!
The strongest of God’s sons are we —
Unchained and chainless — ever free!

We have hurled the glacier from his rest            
Upon Chamouni’s treacherous breast;
And we scatter the product of human pride,
As forth on the wing of the Storm we ride,
To visit with tokens of fearful power
The lofty arch and the beetling tower;
And we utter defiance, deep and loud.
To the taunting voice of the bursting cloud;
And we laugh with scorn at the ruin we see
Then away we hasten — for we are free!

Old Neptune we call from his ocean-caves
When for pastime we dance on the crested waves;
And we heap the struggling billows high
Against the deep gloom of the sky;
Then we plunge in the yawning depths beneath,
And there on the heaving surges breathe,
Till they toss the proud ship like a feather,
And Light and Hope expire together;
And the bravest cheek turns deadly pale
At the cracking mast and the rending sail,
As down, with headlong fury borne,
Of all her strength and honors shorn.
The good ship struggles to the last
With the raging waters and howling blast.
We hurry the waves to their final crash,
And the foaming floods to phrensy lash;
Then we pour our requiem on the billow,
As the dead go down to their ocean pillow —
Down — far down — to the depths below,
Where the pearls repose and the sea-gems glow;
Mid the coral groves, where the sea-fan waves
Its palmy wand o’er a thousand graves,
And the insect weaves her stony shroud,
Alike o’er the humble and the proud,
What can be mightier than we,
The strong, the chainless, ever free!

Now away to our home in the sparkling North,
For the Spring from her South-land is looking forth.
Away, away, to our arctic zone,
Where the Frost-King sits on his flashing throne,
With his icebergs piled up mountain high,
A wall of gems against the sky —
Where the stars look forth like wells of light,
And the gleaming snow-crust sparkles bright!
We are fainting now for the breath of home;
Our journey is finished — we come, we come!
Away, away, over land and sea —
Unchained and chainless — ever free!

From: Rufus Wilmot Griswold, ed. The Female Poets of America. Second edition, 1859. Philadelphia: Parry & McMillan, pp. 127-28.

Thursday, April 25, 2013

Two Philosophy Students



The discovery of the decayed body of a depressed Brown University student at India Point in Providence, brought to mind this poem. The rain-swept opening scene took place one block from where the student's body was found in the water.
Randall’s umbrella is tatter-torn,
bare spokes inviting leaf-catch or lightning.
Rain pelts his hair, his eyes
     swell shut with sea-brine.
He thinks a thought-wedge
against the wrenching wind:
     this thing above me possesses the form
          of an umbrella,
     therefore it must be
          an umbrella.
     Therefore, I am dry.

Sleet pounds his brow to migraine.
His soiled jeans get a needed washing.
He asks himself: What constitutes
“the Wet” as opposed to “the Dry?”

In lightning flash,
Armando passes Randall,
the wind to his back,
stooped as always,
his shapeless gym bag
weighted with something
the size and shape
of a bowling ball.

His back-pack, drenched now,
contains the yellowed pages
of his doctoral thesis,
begun a dozen years ago.

He sleeps in a carrel
on Level 3 of the Library,
a spot behind a stairwell
that no one enters, ever.

There he will dry himself,
thumbing through Heidegger,
warming his dissertation
from log to turning sheets again,
his gym bag unzipped
to display the head
of his advisor,
gone on sabbatical
some years now
but never missed.

Armando does not like
these rainy afternoons.
The head seems heavier,
smells ever so slightly
as he shuffles upstairs
to the cobwebbed stacks
somewhere between
Metaphysics and Ontology.


Sunday, April 7, 2013

The Special Ward at Butler Hospital

A new "poem-monologue" to be read at Ladd Observatory, Brown University, in the annual commemoration for H.P. Lovecraft.

Ah, here we are. For the state of these hallways
I must apologize. The janitors won’t clean here:
It’s in their contract since the 1950s. We make do.
I hope that handsome suit of yours will not get soiled:
I haven’t seen one cut like that since my father’s time.
There’s nothing really down here, you see. I’m sure
You’ll want to inspect our new outpatient clinic. No?
Ward L? A special ward? Can’t say I know of it.
These doors are locked. They’re always locked.
There’s nothing to see there, really? Inspector,
we’ve done the annual visit the same each year.
You’ve never asked about this basement. Oh?
An inquiry? Grand jury, you say? I’m sorry, no:
I’m not allowed to open this. Subpoena? I see;
Yes, yes, it all seems clearly worded: “Ward L,
locked rooms in Butler’s basement. Inspect.”
I still don’t think I’m authorized to open — ah,
I see your two friends’ badges there, and, oh,
I’d rather you not display those handguns
considering our population here. Ward L.
The key is here somewhere. You’re making me
exceedingly nervous with that .38. Wrong key.
Damn! Here it is! It’s open! It’s open!
You’ll need a moment to adjust to the dimness.

The men are on this side,
     behind the plexiglass.
There’s a certain family likeness for some:
those lantern jaws, that gait aloof and awkward,
all dressed in their grandfather’s suits.
Every one of them thinks he’s H.P. Lovecraft.
Untreatable, incurable (and certainly unemployable);
nothing short of lobotomy will pull them out of it.
Last count, three hundred. They come from everywhere.
Most states outsource their Lovecraft maniacs;
Their loss, our gain. At least it’s easy to feed them.
Crackers and chili, a slice of pie.
They’re calm except for those nights
On which we bring them ice cream.
They eat it off each other’s bodies, something
you’d pay me not to have to watch.


The Lovecraft women are on the other side.
No, only a dozen or so right now. They suicide
as fast as we get them in. The “Howards”
are not remotely interested in meeting them.
Some lie there at night, exposing themselves
toward the Hyades; some play with rats
and give them endearing little names.
Most of them just read, and lick the wallpaper,
and fill up the room with plush toy octopi
(we sell them in the gift store up above).
A number of them turn out, on closer inspection,
to actually be men. We call them Cthulhu’s nuns.
Every woman who ever reads Lovecraft
winds up this way. They really should ban him.


Here in the back, we have the “machinery.”
There’s the lobotomy kit, and over there
the latest in electroshock, but as I said,
they’re pretty much incurable. Just take a look:
they’re not particularly unhappy. They read;
endless long letters they write to imaginary friends
(of course we never mail them); and they dispute
among themselves for hours fine points
of eldrich lore and Arkham geography.

Report what you like. I think we’re kind to them.
Back in the 60s a former director said, “Empty the place,”
and so we had them all drafted to the infantry:
imagine a platoon of Lovecrafts in Vietnam!
This is not a bad life. It’s not as though
they could go out and get jobs, you know.
And they’re not such gentlemen as one
would think: that Negro attendant they tore
to bits in 1953. Oh my goodness.


So that’s the tour. Gentlemen, your guns.
Thank you for bringing the Inspector down
without his being any the wiser. Just tie him down
to that bed by the electroshock. There, there,
Inspector, it will be fine before long. Your boss
is repressing all evidence of that sacrifice you made
during your South Pacific vacation last year –
all that mess, tsk! tsk! and no Cthulhu
to show for your trouble. You’ll be all right.
You’re going to have three hundred best friends,
and they’ll be just like you. You could live
to a hundred down here. All those books to read
and we even have our own closed-circuit TV:
all Lovecraft, all the time. And now, stop talking.
I’ll just tape over your mouth so you can listen.
Just for you. The rats. The rats in the wall.


Friday, March 8, 2013

They Had No Poet...

by Don Marquis
Published in 1915 in Dreams & Dust


"Vain was the chief's, the sage's pride!
 They had no poet and they died."--POPE.
By Tigris, or the streams of Ind,
  Ere Colchis rose, or Babylon,
Forgotten empires dreamed and sinned,
  Setting tall towns against the dawn,

Which, when the proud Sun smote upon,
  Flashed fire for fire and pride for pride;
Their names were . . .  Ask oblivion! . . .
 "They had no poet, and they died."

Queens, dusk of hair and tawny-skinned,
  That loll where fellow leopards fawn . . .
Their hearts are dust before the wind,
  Their loves, that shook the world, are wan!

Passion is mighty . . . but, anon,
  Strong Death has Romance for his bride;
Their legends . . .  Ask oblivion! . . .
  "They had no poet, and they died."

Heroes, the braggart trumps that dinned
  Their futile triumphs, monarch, pawn,
Wild tribesmen, kingdoms disciplined,
  Passed like a whirlwind and were gone;

They built with bronze and gold and brawn,
  The inner Vision still denied;
Their conquests . . .  Ask oblivion! . . .
  "They had no poet, and they died."


Dumb oracles, and priests withdrawn,
  Was it but flesh they deified?
Their gods were . . .  Ask oblivion! . . .
  "They had no poet, and they died."

Monday, December 24, 2012

Knecht Ruprecht, or The Bad Boy's Christmas


Don't even think of calling your
mother or father.
They can't hear you.
No one can help you now.
I came through the chimney
 in the form of a crow.

You're my first this Christmas.
You're a very special boy, you know.
You've been bad,
bad every day,
dreamt every night
 of the next day's evil.
It takes a lot of knack
 to give others misery
for three hundred and sixty
consecutive days!
How many boys have you beaten?
How many small animals killed?
Half the pets in this town
 have scars from meeting you.
Am I Santa Claus? Cack, ack, ack!
Do I look like Santa, you little shit?
Look at my bare-bone skull,
   my eyes like black jelly,
   my tattered shroud.
My name is Ruprecht,
 Knecht Ruprecht.
I'm Santa's cousin! Cack, ack, ack!

Stop squirming and listen--
 (of course I'm hurting you!)
I have a lot of visits to make.
My coffin is moored to your chimney.
My vultures are freezing their beaks off.

But as I said, you're special.
You're my number one boy.
When you grow up,
you're going to be a noxious skinhead,
maybe a famous assassin.
Your teachers are already afraid of you.
In a year or two you'll discover girls,
a whole new dimension  of cruelty and pleasure.

Now let's get down to business.
Let me get my bag here.
Presents? Presents! Cack, ack, ack!
See these things? They're old,
old as the Inquisition,
make dental instruments look like toys.

No, nothing much, no permanent harm.
I'll take a few of your teeth,
then I'll put them back.
This is going to hurt.  There--
the clamp is in place.
Let's see--where to plug in
those electrodes?

Oh, now, don't whimper and pray to God!
As if you ever believed in God! Cack, ack, ack!
I know every tender place in a boy's body.
There, that's fine! My, look at the blood!

You'll be good from now on? That's a laugh.
Am I doing this to teach you a lesson?
I am the Punisher. I do this
because I enjoy it! I am just like you!

There is nothing you can do!
I can make a minute of pain seem like a year!
No one will ever believe you!

Worse yet, you cannot change.
Tomorrow you will be more hateful than ever.
The world will wish you had never been born.

Well now, our time is up. Sorry for the mess.
Tell your mother you had a nosebleed.

Your father is giving you a hunting knife
for which I'm sure you'll have a thousand uses.

Just let me lick those tears from your cheeks.
I love the taste of children's tears.

My, it's late! Time to fly! Cack, ack, ack!
 I'll be back next Christmas Eve!


_______
Knecht Ruprecht, from German folklore, is St. Nicholas' evil twin, who punishes bad children. 


Friday, December 7, 2012

The Orphan of Chao


I carried this book to lunch today and read a thirteenth century Chinese play called "The Orphan of Chao." It's a lurid revenge play, with three suicides and one infant dismemberment on stage, 300 offstage murders, and a long 20-year wait for revenge. Oh, what fun!  (No, I was reading a Penguin edition of this play in English!)

http://amzn.com/0140442626


Rite of Spring In Its Original Choreography


Preparing for a talk I am giving, I discovered that the original Nijinsky choregraphy for the Rite of Spring has been staged by the Kirov and other companies. Here is the final scene, with the Sacrificial Victim literally dancing herself to death. Although Stravinsky later wanted the Rite to be listened to as pure music, the original choreography shows that this music can be taken literally. Terrifying! 

Marguerite Monnot



One of the 20th century's least-heralded woman composers was the classically-trained Marguerite Monnot, who collaborated with Edith Piaf in creation an enormous body of classic French "chansons," the French song genre that transcends pop mu
sic. Most of my friends who love classical music also love Edith Piaf. Monnot was her best friend, and together they made the 20th century "chanson" immortal. http://en.wikipedia.org/wiki/Marguerite_Monnot

Patrick McGrath Muñiz

Patrick McGrath Muñiz had a show of his work at URI some time back, and I have kept track of this remarkable artist via his website. The technique of a Renaissance master combined with high political and social satire might be one way to describe him. Go look, and I think you will become a fan. http://www.patrickmcgrath-art.com/

Wednesday, September 26, 2012

An Exeter Vampire, 1799



She comes back, in the rain, at midnight.
Her pale hand, not a branch, taps the glass.
Her thin voice, poor Sarah Tillinghast
whines and whimpers, chimes and summons you
to walk in lightning and will’o wisp
to the hallowed sward of the burial ground,
to press your cheek against her limestone,
to run your fingers on family name,
to let the rain inundate your hair,
wet your nightclothes to clammy chill,
set your teeth chattering, your breath
a tiny fog before you in the larger mist.

You did not see her go before you,
yet you knew she was coming here.
Soon her dead hand will tap your shoulder.
Averting your eyes, you bare your throat
for her needful feeding, your heat, your
heart’s blood erupting in her gullet.
You will smell her decay, feel the worms
as her moldy shroud rubs against you.
Still you will nurse the undead sister,
until her sharp incisors release you
into a sobbing heap of tangled hair,
your heart near stopped, your lungs exploding,
wracked with a chill that crackles the bones.

The rain will wash away the bloodstains.
You will hide your no more virginal
throat like a smiling lover’s secret.
Two brothers have already perished —
the night chill, anemia, swift fall
to red and galloping consumption.
Death took them a week apart, a month
beyond Sarah’s first night-time calling.

Honor Tillinghast, the stoic mother,
sits in the log house by the ebbing fire,
heating weak broth and johnny cakes.
One by one she has sewn up your shrouds—
now she assembles yet another.
She knows there is no peace on this earth,
nor any rest in the turning grave.


The storm ends, and birds predict the sun.
Upstairs, in garret and gable dark,
the children stir, weak and tubercular,
coughing and fainting and praying for breath.
The ones that suck by night are stronger
than those they feed on, here where dead things
sing their own epitaphs in moon-dance,
and come back, in the rain, at midnight.
_____
Exeter, Rhode Island’s “vampire” case of 1799 ended with the exhumation and destruction of the corpse of Sarah Tillinghast after four siblings followed her in death by consumption. They burned Sarah’s heart and reburied all the bodies. 

Wednesday, September 5, 2012

Milkweed Seeds


The air is full of milkweed seeds—
they fly, they light, they fly again—
they cling to leaf, to cat-tail,
dog fur and hedgehog quill.

They burst out of pods like wizened hags,
white hair pluming on witch winds.
Do not be fooled by their innocent pallor:
the sour milk sac that ejected them
is made of gossip, spite and discord.
Pluck this weed once, two take its place,
roots deep in the core of malice.

Cousin to carrion flower and pitcher plants
they fall on sleepers who toss in misery,
engendering boils and bleeding sores.
These are no playful sprites of summer—
they go to make more of their kind—
and if one rides through an open window
it can get with child an unsuspecting virgin,
who, dying, gives birth to a murderer.

Just give them a wind
     that’s upward and outward
and they’re off to the mountains
to worship the goat-head eminence,
pale lord of the unscalable crag,

Evil as white as blasted bone,
his corn-silk hair in dreadlocks,
his fangs a black obsidian
     sharp as scalpels,
his mockery complete
as every dust mote sings his praises.

Do not trust white, winged and ascending to heaven!
Beware, amid the bursting flowers, the sinister pod!

Tuesday, August 21, 2012

Hoxie House


The high house, unpainted timbers already
blackened, was Truth and Wisdom’s armoury,
walls thick enough to bar the arrow
of the hostile Indian, windows so high
and leaded panes so narrow so that no sin,
however faint, could penetrate
the dim, cool classroom. “In Adam’s Fall,
We Sinned All,” began the alphabet. The boys
stayed on until they could sum and call out
the hymn and credo of the Puritan Fathers;
the girls, few and tubercular, were such
as clung to knowledge for scant hope
of ever seeing a husband, spinsters
in waiting for the church pew, the rounds
of chaste charity, if they lived. The stooped
and spectacled teacher made silence,
obedience, and the occasional slap
of an ominous birch rod his syllabus.

One early autumn day, as darkness crept
with dankness into the unfired room,
he grew distracted from his lecturing
on the certainty of Hell by two distinct
aberrances: the clatter and fall
of chestnuts from a spreading tree
that had grown too close for comfort
to the schoolhouse, and the pale face
of Sarah, the oldest of his female charge.
Her agitation at his lecture, agitated him.
His hands began to tremble as he realized
she had come back from a necessity
(so long outdoors and back from the privy
he feared the wolves had taken her)
with a dark smear on her hands he realized
was woman’s blood.  She trembled, crouched
in her seat, her voice a scant whisper
as he required amens and recitations.
When dusk came, and the boys hurtled
toward the broad pond, the trails among
the great trees canopied with vines,
the waiting farms and close houses,
Sarah moved slowly, raising herself with hands
protectively below her waist as though
she feared a trail might follow her, a lure
to bear and beast, a stain upon the landscape.

He blocked her passage. “Stay,” he said.
“Thou hast the mark of sin upon thee.”
She tried to dodge him; his hands reached out
and held her by the shoulder. Her blush
was like a bonfire. She could not speak.
He led her behind the schoolhouse. Silent
she was as he found a leaf pile and pushed
her down there. “Daughter of Eve,”
he cursed her as his mouth found her lips,
“Thou art man’s perdition.” She cried out;
the black boards of Hoxie House, the long
dark shadow of Truth and Wisdom’s armoury
muffling his groans and the tumult
of the lesson he taught her.  That night,
she would close her primer forever,
and take the unbibled spinster’s vow.
No one would ever ask, and no one
would ever believe, how on the day
she bled first, she bled a second time.

On a quest with my friends David and Kleber for pre-1700 houses, we found the famous saltbox Hoxie House in Sandwich, MA. At some point in its history it had been a schoolhouse. I found its color and its stinginess of windows appalling, and this is the only house we saw that seemed to have an aura of evil about it. I instantly flashed onto the "imaginary" events in this poem, as I tried to imagine a repressed Puritan teacher locked up in this confined building with children.