Saturday, July 31, 2010

The seed of a story

My Hero


Why does someone become a writer? I suppose there are people who become writers as a way of making money, especially in these United States, where making money is always a matter of status and urgency. In fact, some Americans would say that making money is the only reason to do anything. I know that was not my reason.
For me, writing has been a calling in the spiritual sense.

I have written earlier about my first conscious ambition: to be a jet fighter pilot. Yet, that ambition was one that was imposed on me by the environment in which I grew up and the occupation chosen by my father. I actually was a part of the United States Air Force during my entire childhood. Yet, that ambition was not what motivated me all my life. I know now that if I had become a pilot, I would have written stories about the experience and drawn pictures of it; indeed, that is what I did do during my childhood when I could only imagine the experience.

From a very early age—three, when I wrote my first poem; five, when I drew my first picture—art and literature have informed my life. When I started school, my childhood peers  remarked on my ability to draw and to tell a story. My drawings were often chosen to hang on the bulletin boards in my elementary classes, and my stories and poems were usually the ones the teacher chose to read to the rest of the class. In Japan, mother hired a Japanese artist to come to our house and teach me and my sister art. He had a limited English vocabulary, but he had an intensity of will which he transferred to me. He would set up a still life, point and say, “Look! Look!” and we would begin drawing. If we missed something like the parabola of a shadow, he would trace it with his hand and say, “See! See!” He knew the difference between looking and seeing. When his stint as a teacher ended, he gave our grades to mother: “She—ok. He—ichibon, number one.”

I have always been (thanks to mother) a reader and an observer. I gobbled up books and devoured scenes, and had an ability to remember both. My belief has been that I must tell the truth as I see it regardless of how painful it is.

This idea transfers to fiction, even science fiction. In the series Interplanetary Secret Agent, I wanted a drive for spacecraft that seemed reasonably possible. I thought it through this way. Benjamin Franklin gets our regard for discovering the principles of electricity, without which modern society with all its glories and faults would not be possible. From electricity come all the modern conveniences, leading eventually to electronics, which allows us to have computers, television, wireless communication and robotics. In space flight, however, the best we’ve come up with so far is rocket propulsion which is wasteful and toxic and unstable. That wouldn’t do. Other proposed forms of propulsion include nuclear and plasma drives, which are costly. My idea is that if we could create an easily polarizing metal alloy, we could use all we know of electricity, magnetism and electronics to propel ourselves from heavenly body to heavenly body. The inhabitants of the Za System have worked this out; I call it electromagnetomics (explained in Chapter 5 of Interplanetary Secret Agent: Book Two: Huppof).

Halfway through the manuscript, I wondered if any scientist was considering this type of drive, so I Googled my concept. Lo and behold—scientists in MIT’s Department of Nuclear Physics were working on such a concept, although on a smaller scale. They were developing the drive to move satellites around their orbits. I emailed the head of the department and attached a copy of Chapter 5, “Electromagnetomics.” He did not reply, but I’m sure he’s very busy with his project. My email probably either amused or annoyed him. At any rate, my idea was viable.

So how do ideas come to a writer? Mine often come as a visual image around which a story evolves. Often they come as a result of an encounter with someone else that opens my mind to a different reality. Sometimes I dream them and awake in a fever to write. Sometimes I read something and it sparks a story. That is how the Buck Jasper Mystery series began. I had read something about a tontine; I realized that a tontine would make a perfect setup for a murder mystery. I worked out the mystery, wrote it, and it came to 80 pages—not enough for a true novel. However, I also needed a detective, so I worked out a detective to tell the story. The detective would be based in Miami, his partner and secretary would be Hispanic—the secretary, in fact, would be a Santeria priestess. The detective would be in love with someone who was not reciprocating as he had hoped. Developing the characters added a lot to (1) Tontine, which finished at 185 pages.

I had not intended to write another mystery; however, the characters had become living beings that inhabited my mind. They would suggest other mysteries to me. Buck in my mind would say, What about this? I could solve that case. In short order came (2) Encomienda and (3) Trust—all fairly short mysteries. I realized that all of them had titles that reflected some kind of business or contractual arrangement. I decided to keep that going for all the titles.

Then the series changed. The books became longer and the stories more complicated and the agency began to change just as businesses do in actuality: (4) A Meeting of Minds—a serial killer challenges Buck to stop him; (5) Severance—a man is accused of beheading the boss that fired him; (6) Possession—a routine property retrieval turns into a battle with smugglers; (7) Raiders—a sexy celebrity and magnate wants her home invaders caught and her property returned; (8) Deletion—a seemingly senseless murder digs up a past of drugs, sex and rock and roll; and (9) Silent Partner—a onetime celebrity wants Buck to prove that her ex-husband killed her former assistant (this last one is based on a dream that a student had and told to me).

So, my mind is filled with images and rhyming lines and narratives. They come at me all the time.
Incidentally, of the first three mysteries, most readers tell me they like the second one best, so I have decided to serialize Encomienda on my blog. I plan to include a chapter each week, beginning next week.

Thursday, July 29, 2010

What does a singer do when she loses her voice?





VOICELESS NO LONGER

About my age, the thin man-about-town in front
At the deli, ordered first, his index finger wiggling:
“Sliced pastrami and corned beef and provolone.”
The brunette clerk bent to her task. He glanced back at me.


I ordered a smoked turkey sandwich.
The clerk, a Botticelli woman,
Big round brown eyes and smooth white skin,
Whispered, “Sorry, I’ve lost my voice.”


The svelte man next to me,
By way of flirting, joked,
“Good thing she’s not a
Telemarketer!” He reached out,
Poked me on the shoulder.


The clerk winced, and I, sensing
More than I knew, gave no response,
Stood resolutely, mutely,
But smiled politely, surveyed the food.


Mr. Cosmopolitan explained as if
We were all a little dense, “You
See, she’d really need her voice then.”
He chuckled and winked. I grounded,
Plugged myself into the solid floor.


She folded and sliced the bread for me,
Filled the core with lettuce, tomato, cheese, meat,
Seasoned it, wrapped it, brought it to me
As lovingly as if she had been my mother.


The slick man gave up and slid away.
The clerk whispered, “I was alto-soprano. But
I’ve got to make a living.” Her eyes
Were soft, moist orbs; her lips, lush.


I said, “Will your voice come back?”
“No, but I’ve taken up the viola.”
“Oh, so you’ve found another voice.”
She smiled. “It’s music, and that’s
What I love. I’m still in music.”


I looked around for the skinny dude, but
He had skedaddled without knowing
That in the deli, a diva
Had served us an aria,
Had opened up worlds for us,
Like any true artist.

2007

"Voiceless No Longer"  was included in the unpublished poetry collection Operose Hierodule of the Muse, 2008.  I love the serendipitous moment when life presents us with some meaning in our everyday tasks.  Below are some CDs and books related to this blog.

Sunday, July 25, 2010

Air Force Brat turn-on




Still Thrilling After All These Years


I was raised in the United States Air Force. My father was a career soldier, following Blantons who have fought in every American war since the French and Indian War of 1673 (Charles Blanton, whose first child was conceived in England but born in America). Another relative fought at Yorktown under Lafayette. Isaac Blanton received a 2000-acre land grant for his service in the War of 1812. During the Civil War, Georgia and Carolina and Virginia Blantons fought for the Confederacy while Kentucky and Ohio Blantons (some black) fought for the Union. Tennessee and Alabama Blantons were Unionists living in the South and sat out the war. Blantons fought in the Spanish-American War and WWI. My father was a veteran of WWII and the Korean War and is buried in Arlington Cemetery. When people ask me where I’m from, I say, “The U.S. military.”

My earliest memory is airbase living. Every two years we left one base and followed my father’s reassignment to another base. One of the first things I heard each morning was the “Star-spangled Banner” being played by the base band, and one of the last things I heard as night fell was “Taps.” Whenever I hear “Stars and Stripes Forever” my mind immediately draws forth the crisp, blue uniforms and white gloves of a military band with polished brass instruments and polished black shoes. My first cafeteria experience was with Dad in the mess hall. I learned to say yes, sir and no, sir. I flew in airplanes before I was five years old. My days were filled with flags and uniforms.

What do the children of soldiers do for fun? We fight battles. Our favorite wars were World War Two (Americans against Japanese and Germans), the Indians Wars (the cavalry against the tribes) and the Civil War (North against South). We would choose sides and fight. In winter we built snow forts, used snowballs for projectiles, and attacked and defended (just as Napoleon did in his youth). In summer we entrenched on hilltops or built forts from found lumber and brick, used dirt clods for projectiles and attacked and defended. Up close we had sticks for swords and bayonets. In sixth-grade class, I gave a memorized speech about the Civil War, recounting each battle – tactics, generals, casualty figures, outcomes – until, after five years of combat had been reviewed, my teacher’s jaw dropped in amazement.

The most fascinating objects, however, were the airplanes. Massive bombers like B-47s, B-50s, B-36s, and B-52s hunkered like brontosaurs near the hangers near the runways, and I wondered how such behemoths ever got off the ground. The fighters were something mythical, sleek silver beasts that roared down the runway like furious, fire-spitting dragons and then leaped into the blue sky like winged Pegasus. I loved the fighters. With my index finger – as if pointing to the future – I would trace the white contrails in the sky.

From an early age I studied airplanes and flight. I read every air combat book I encountered. I knew the configurations of every famous airplane. I knew the stories of all the aces. I knew the composition of all the air forces on earth. I built plastic models of the famous planes: Flying Tiger P-36, ME-109, Supermarine Spitfire, Mitsubishi Zero, P-47 Thunderbolt, P-38 Lightning, Focke-Wulf 190, F4U Corsair, F6F Hellcat, P-51 Mustang, F-86 Sabrejet, Mig-15. In my room, I had a personal air force of some three dozen airplanes.

Here was my plan: I would attend the Air Force Academy and be a jet fighter pilot and fly the new supersonic fighters.

When I was sixteen I found out (when I went to get my drivers license) that my left eye had gone bad on me and I would never qualify for flight school. I was crushed. What would I do with the rest of my life? Dad said, “You can still be a navigator on a bomber.” But that wasn’t flying. My wings were clipped.

Then, the only war my generation had to fight was one I couldn’t believe in: Vietnam. My youth was a great disappointment. I couldn’t fly; I couldn’t fight.

I used other skills to build a life, and then after I moved to South Florida, a catastrophe hit that circled my life back to its beginnings. Hurricane Andrew blew away Homestead Air Base. A hundred thousand people moved away from the area.

Shortly after that disaster, I broke up with my lover of twelve years. In Homestead, I found a cheap apartment that was close to both my jobs. Homestead Airbase was rebuilt, but on a smaller scale. For some reason, I felt very much at home.

Then I realized what had happened. I had returned to an airbase. My apartment is within a few blocks of the destroyed airbase entrance. The apartment itself had been officer housing before the hurricane. The area where I go jogging had been NCO housing: all the houses are gone and the land has turned into a kind of natural park – the yards are overgrown with brush and trees, but the asphalt streets remain to run on. In the morning I can see uniformed people driving to work. When I stand in line at the local convenience store, I am standing with uniformed men and women, who if they bump into me say, “Excuse me, sir.” Whenever I pass the base, I can see the huge, star-spangled banner flying on the base pole. At sunrise, “Reveille” plays over the base loudspeakers; at sunset, “Taps.”

And if I’m outside and hear the roar of jets, I stop and look to the sky. When the dart-like F-16s leap from the runway and shoot heavenward like Phoenix rising, I still get the youthful thrill down my spine and goose bumps on my arms.

END

The advent of pilotless aircraft has made flying and fighting less glamorous but also less dangerous for the pilot.  Nerds and geeks who would never have qualified to strap into a supersonic jet can now qualify to be cyberjockeys.  They don't have to withstand Gs or manage an attack while maneuvering a plane at Mach 2.  They have to remain alert during their shifts and locate and attack the enemy on a computer screen; war is becoming a computer game, so the younger generations are uniquely prepared to fight such wars.  Will they be given wings, too?  Or, just virtual wings?  Will we have virtual aces?  And virtual heroes?

Below are items related to this blog.

Saturday, July 24, 2010

A single mom and her kids


SOLO MAMÁ, THREE CABRIOLES*


The stalwart single mom will stay
Just, as around her the kids swirl
In a raucous dance that makes her sway.
Just as around her, the kids swirl
Over table, over floor, in furious play –
Twisting, dodging, dipping in a whirl.
The stalwart single mom will stay
Just as – around her – the kids swirl.



For Kena, Luciano, Nicole and Alan

*wild little goats

2007

"Solo Mamá, Three Cabrioles" is a triolet, a poem in which one line is repeated three times and one line is repeated twice.  The rhyme is abababab.  This was written for Kena and her children, whom I had the pleasure of meeting at Kena's initiation into the honor society. 

Kena immigrated from Chile years before I met her when she came into the lab for help with her English.  She didn't need a lot of help, just a bit of polishing because she was very intelligent and had taught herself English up to that point.  She was a single mom with three rowdy children that she loved immensely.  She's a strong person with her own concepts about what is good for her and the children.  I came to admire her eccentricities because behind them was a solid human being.

What makes people interesting is the little things that make them different from everyone else.  I know that raising three energetic children by oneself isn't easy.  One of the ironies of feminist liberation is that so many women wound up raising children by themselves.

My sister is one of those women, and her son turned out to be a productive, compassionate human being.  My hat is raised for all the single parents out there.  I wish you good luck and fortitude.

Below are three books related to this blog.

Friday, July 23, 2010

what effect does abuse have on a child? La Gringita of Nicaraugua


THE UNPROTECTED CHILD

(for “La Gringita” of Nicaragua)


She could have turned her affront
Into her own excuse for abuse;
She did not.


She could have made her scar
A keloidal cicatrix of barricades;
She did not.


She could have fused her anger
Into a spate of hate;
She did not.


She could have fixed her hurt
Like a dagger in her heart;
She did not.


She could have warped her anonymity
Into parental enmity;
She did not.


She could have dumped her violation
Onto maternal loathing;
She did not.


She could have meshed her wound
With a compassionate resolve;
That she did.

2007

"The Unprotected Child" was included in the unpublished poetry collection Operose Hierodule of the Muse, 2008.

Dora wanted help on a book she was attempting to write about child abuse in Nicaraugua.  She had been abused as a child.  One part of the book was to be her story.  Another part would be a general dissertation on child abuse in her country of birth; it would be based on research and field work. Several times she traveled to Nicaraugua.  Another part would be a search for her father, an American who had left her and her mother alone while he returned to the United States (She did eventually find his family, but they resisted her contacts for the sake of the father's legal wife).  I was her translator, editor and proofreader.  Of course, I learned quite a bit about her in the process.  We came to respect each other.  Unfortunately, before she could complete her research, she ran low on funds and had to pause until she could find a way to finance the book.  During our time working together, she never showed any bitterness (she was a mother with a teenage daughter by then), but she seemed to be driven to do something that would prevent abuse in her country of birth.  Thus came the poem.  I gave it to her, and she said she would add it to the book.

Her nickname in Nicaraugua was "La Gringita" (the little American), although she had been born there and Spanish was her first language.  However, her American father had been of Northern European extraction, so she had fairer skin and lighter hair than anyone else in her town--therefore the nickname.
Below are some books related to this blog:

Thursday, July 22, 2010

a new bird species discovered in Asia




LIOCICHLA BUGUNORUM’s DEBUT


There you were,
Flitting your lives
From generation to generation
And we didn’t know
That you had alighted
With us on Earth.


How does it feel
To have the limelight
Shining on you,
So now we know
Your equipage –
Your black hat,
Your yellow rouge,
Your red and yellow sleeves
Ruffling in the wind,
Your black tail,
Your ivory boots –
And your song
That you sing
In the dawn?


Soon we’ll know
How you
Dip into the bowl,
Drink and swallow.
We’ll finally know
How you choose a mate,
And how you mate,
Hooking up for a frisson of desire.


Of course, why
You live and why
I write, why
These words, why
I cry, why
This world, wisely
Remain a mystery.

2007
 
This poem was first published in Ann Arbor Review in 2008.  It was included in the unpublished collection of poetry called The Operose Hierodule of the Muse, 2009.  Below is a book related to this blog.

Sunday, July 18, 2010

muck and its many variations

muck, but not the Everglades kind




MUCK



After the Valujet crashed into the Everglades, a side bit of information was the quality of muck. Charts were used on the news to explain its depth and composition. Ecologists spoke of its duration. Television journalists probed into it and picked it up for all the world to see. Muck is a wonderful word: It has phonetic resonance, a scientifically sound standard meaning, and a genealogy with ancestors and offspring that are fascinating. Lets examine muck and its many qualities.


One day I was walking in a muddy field. Suddenly my boot sank deep into the mud up to my calf. I pulled, but the boot wouldn't come loose. I pulled harder and my boot dragged out a tangle of mud, rotting grass and leaves and with a sucking, slithering sound. Now my other boot was sinking. I had bogged down in a quagmire of muck. What an onomatopoeic word is muck! It rhymes with suck and stuck, two sensations that one gets as muck is encountered. It is consonant with mud and mule, and a person may need the latter to get out of the former. Other words which conjure up muck are soggy, slush, slimy, gooey, gunk, sludge, mire and that good ol' primordial ooze! It's just the kind of stuff one might use to make a tar baby except that tar baby wouldn't stay together very long--too slippery to last. [Yet, as we learn more about Valujet's transgressions, it may be where it ought to be - stuck in the muck.]


Webster's Third New International Dictionary (1991) gives a lengthy scientific meaning of muck: "a dark, usually black earth that is capable of absorbing much water, that is usually moist or wet so as to have a consistency like that of moist or wet loam or humus, that is marked by the presence of organic usually plant matter in an advanced state of decomposition and in a proportion of usually less than 50 percent, that is rich in nitrogen and relatively low in mineral content and that is very fertile." Hmm, sounds like the Everglades, doesn't it? Lo and behold, Webster's usage example comes from Marjorie Stoneman Douglas: "floundering through the wet black muck." Note, however, that usually is used four times to modify the descriptive phrasing in the definition, so we have another concept about muck: that it is variable in its qualities; there is a great range of muck -- from an almost mudlike goo to a humid compost heap, from black to slate to burnt umber to deep rust. We must be flexible in our approach to muck.


Muck has been around a long time and is a cousin to the word mucus; both can be traced back ultimately to the Sanskrit word muñcati whose basic meaning is "slippery." From thence, our word went through Greek (myxa [nasal mucus]) and Latin (mucere [moldy, musty]) to the Old Norse (myki [dung]) and a branch of that (mjukr [gentle]) which is interesting, but takes only an imaginative leap to understand its soft and warm connection. Old English adopted myki as moc, Middle English transformed the sound and spelling to muk, and it plopped into modern English as muck—the most common definition is, after all, "soft, moist, farmyard manure" (Webster’s Dictionary).


From its fertile, if base, beginnings, muck spread and from it sprouted other interesting words. It was first recorded in the 1400s as a noun with the elemental meaning; from muck later developed the word meaning "one who cleans up muck": mucker. Mucker later came to mean anyone who does the dirty work, the hard, difficult tasks. A good example of this usage is the description of the 1997 Florida Panthers as "muckers and grinders"(Miami Herald).


In the 1500s, muck began to be used as a verb meaning to clean up its noun father. (In 1661, muck's cousin mucus first entered the language during that period of Latination known as the Reformation. Is it a coincidence that was a time of plagues and the Great Fire of London? Incidentally, one small dialect in Britain continues to use a word muckender -- a name for a handkerchief.) The verb was expanded by making compounds, or phrasal verbs, such as muck up (1896) which means "to make a mess of, bungle, botch," like characters in an Agatha Christie mystery; and muck about, which means "to engage in aimless activity, to spend time idly, putter," like characters in a Hemingway novel.


In 1902, an adjective form mucky appeared; it means, of course, "filthy or dirty or repulsive or foul"; however, it also can mean "muggy" like the humid hurricane season air in South Florida.


One of my favorite new words is muckworm, or "miser"; it probably comes from an obsolete usage of muck to mean "money." Muckworm has a sublime connotation of someone scratching and scraping to hoard his filthy lucre.


Finally and most famously is the magnificent word muckraker [1910] to identify those who "search for and expose political or commercial corruption." Theodore "Teddy" Roosevelt usually gets credit for coining this muckrake verb usage around 1906. Today, these people are euphemistically called "investigative reporters," but that term hardly has the oomph of muckraker, which fits the perpetrator so well. Muckraker is one of those English words that is especially hard to translate because it so succinctly sums up the doer; in Spanish, it is revelador de escándalos públicos, and in French, déterreur de scandales. The translations seem like someone mucking about compared to the direct muckraker. [Valujet, beware muckrakers; I'm positive that they're digging away.]


Before I end this saga, I must note that the word high muckamuck has no kinship with muck but is derived from a native American Chinook word muk, which as a noun means "food" and as a verb means "to eat"; a high muckamuck is a V.I.P. or influential person— literally the giver of plenty of food to eat, or liberally, the party thrower, the host. Well, Valujet mucked up trying to save money. Perhaps since it wasn't such a good host, the company should be renamed MuckwormJet.

1997

END

This essay was first written before I became Internet proficient.  My print references are lost to time, so I apologize for not listing them.  I no longer have the 1991 dictionary or the 1997 Miami Herald.  I was not able to interest any editor in my essay about muck, which did not really surprise me.  Below are books related to this blog.

Saturday, July 17, 2010

Hurricane warning



HURRICANE




She has a cyclopean eye

Dead in the center

To survey on the sly

The summertime winter

That she blows on the land

With cool persistence,

Huffing and puffing to fan

Into pagan wet dance

The palms and the pines

While she strolls on

Whipping the vines—

This exotic Amazon!



1977/1981

"Hurricane" was first published in Monsters in a Half-way House, 1981.  It was my first attempt to write about hurricanes, meteorological events that occur each summer and early autumn in Florida and the surrounding seas and oceans.  They are impressive.  I have gone through at least a dozen in my 50 years as a Florida resident, starting with Donna.  Most are Category 1-3, which are survivable if one uses common sense.  The 4s and 5s endanger even the commonsensical, so the best one can do is get out of the way.  The worst was Andrew.
 
When I first wrote this poem, hurricanes were named after only women, although that has changed.  However, the female aspect fits in nicely with the Amazon concept.
 
It is now hurricane season; I keep my eye out.  One of my favorite movies with a hurricane is an old one:
Here's another enjoyable old movie with a hurricane:
Faulkner has a novella in which a hurricane factors:

Friday, July 16, 2010

acrostic poem


GREAT WHITE HERON



Glides he in, lands at the lip of the lake, steps in – folds cloaking white wings

Regally; he stretches his full length, his neck and head rising like a watchtower,

Eyes the finned shadows in the water, his beacon head turning left, then right,

And with deft feet moves stately, impelling no ripple to disturb the dawning peace.

The fish are feeding, gobbling and gilling, and see only reeds rising from surface.

Whiteness permeates – salty sand, blanched feathers, spackling sunlight.

Heroes stand as tall and proud as he, as a regent waiting to be served.

In intense observation, I watch him watching, taut interest strung tight.

The imperial bird holds still, his prey near, his auroral prayer answered.

Every muscled instinct compels him downward, descending cottony cloud.

His neck coils into an S, and he looks askance at his unwary breakfast.

Energy springs his beak into the liquid; it returns laden with flopping, wriggling life.

Repeatedly he dabs the water with his victim, inducing exhaustion and stillness.

Over his beak he flips his meal, so headfirst it plummets down his strait gullet.

Now he stretches, settles and glances about his realm, lord of the morning lake.


2008

"Great White Heron" is an acrostic poem.
This is another favorite poem in which I could never interest an editor, but it is after all just a picture in words. (Or, is there more?)  By the way, I wasn't standing on shore watching the heron; I had been swimming in the tidal pool off Biscayne National Park.  When I saw the heron land, I moved as gently as I could toward it as it hunted along the shore.  I got within twenty feet and stayed there with just my head above water, so I could watch the bird closely.  It saw me, but didn't perceive me as a threat.

When I was a teenager, my mother had gotten me a small version of John James Audubon's Birds of America.  Using watercolor paints, I copied several of the birds from the book, trying to reproduce Audubon's colors.  I got the form of the birds pretty well, but the colors I had weren't true matches to Audubon's.  In that book I first saw his print The Great White Heron.  Mother also got me a Peterson Field Guide to Birds of North America, to which I constantly referred whenever I encountered a bird I hadn't seen before. (I had a great mother.)  Below is Audubon's print.


"Audubon is credited with being the first to identify the Great White Heron as a separate species and gave it the name, Ardea occidentilis. The Great White Heron has recently been designated a morph or color form of the Great Blue Heron."--http://www.floridakeysbest.com/audubon/great_white_heron.htm

After college I read Robert Penn Warren's long beautiful poem Audubon: A Vision.  In the first verse, he describes Audubon seeing a great white heron for the first time.

                                      Saw
Eastward and over the cypress swamp, the dawn
Redder than meat, break;
And the large bird,
Long neck outthrust, wings crooked to scull air, moved
In a slow calligraphy, crank, flat, and black against
The color of God's blood spilt, as though
Pulled by a string.

Once teaching a creative writing class, I read my poem "Great White Heron" because the class wanted to hear some of my work.  Most of the class were 17 to 19 years old, but a few were in their 20s.  One of the older students blurted out there was no great white heron.  I was astonished, but I asked her why she thought so.  She said it was probably just a large egret.  But I was sure I had seen a great white heron.  I went to my office, researched the topic, and the next class I gave the students a slide show presentation.  I showed them Audubon's print and told how he was the first to document the bird, I read to them from Audubon: A Vision,  I showed them the website of the Great White Heron National Wildlife Refuge in Big Pine Key, and I showed them a range study of the great white heron, which stated that bird could be found as far north as Biscayne Bay.  The student who had attempted to ridicule my poem hung her head.

However, I also realized what an extraordinary event it was for me to have been where I was and had the rare bird alight so close to me--as if I were being blessed with a poetic vision.

Below are links to some of the books and prints mentioned in today's blog.








 
 
 
 
 

Thursday, July 15, 2010

the allure of evil


EVIL DANCES



Preachers make evil
to be
morbid, dark, and dreary.
No one would ever
want
to do it.

Yet sages know

how the beautiful

are damned,

and evil dances

along lighted promenades

with a light step

and a scintillating smile

and whirls

and pleases

and embraces

and all with grace

and ah!

bright eyes!



1973/1980/2010

This poem was first published in Monsters in a Half-way House, 1981.

The last two lines are echoes of Gerard Manley Hopkins' poem "God's Grandeur," which I include here:

The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel, being shod.


And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs--
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.

Hopkins was a Jesuit Priest, so for him Christ was a palpable presence.  Although his poems are not generally dated, we know that he wrote most of them between 1865-1885 before the coming of the 20th century, in which evil became a palpable presence in many alluring forms.

For reasons of historical irony, whenever I think of this poem, I also think of "The Second Coming" by William Butler Yeats.  Hopkins's collected poetry was first published in 1918 (29 years after his death), and  "The Second Coming" was published in 1920 (after WW1) and shows prescience of the coming century.  Even though Hopkin's poem hints at Western culture's impact on life, what a contrast in tone and vision!  Below is Yeat's poem.

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.


Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?


Let's hope the 21st century is gentler on all of us than the 20th was.  Below are the works mentioned in this blog.

Wednesday, July 14, 2010

How to spot a pedophile




CHILD SPECIALIST


I thought Wilmer had bad luck. Bad luck with women. Bad luck with families. Bad luck with his career. That’s what I thought after I had been acquainted with him for a few years.

It added up for me because I’ve won no trophies when it comes to family life. I’ve been married twice, and both wives said pretty much the same thing when they left with our children. “All you care about is numbers. You should marry a computer.”

It’s true that I spend most of my time running equations through a computer. I think of myself as a visionary. I’m trying to discover formulae that relate mathematics to biology – in particular, genetics. I’ve published two papers on the topic and have presented my ideas at many seminars and conventions; my most famous paper backed up a worldwide study indicating that regardless of culture, language or ethnicity, approximately five percent of any given population will be homosexual. Those publications led to my getting my position at the Academy. It’s a perfect job for me. I teach three classes a term and have plenty of time to work on my formulae. People call me “a genius,” and sometimes I feel as if I’m treated as a pet of the administration.

Wilmer was both my neighbor and my colleague.

The first time I saw Dr. Wilmer Otts, I thought he looked like a leprechaun. I’m a tall, lanky fellow – my best friend calls me “Ichabod” or “Daddy Longlegs” or “Father Abraham” depending on his bruin moods – and have to splay my legs to sit in a normal chair, so when I wandered out of the computer lab for some coffee, I practically ran over him, stumbled into him, propped my left hand against the wall to keep from toppling over onto him.

Whatever had impeded my path scuttled out from my fold of legs and arms. Presented to me was a slight, short, balding, white-haired man in gold-rimmed spectacles. He said, “Whoa, big fellah. You’ve got to watch where you’re going.”

“Sorry. My mind was elsewhere.”

“Professor?”

“Yes.”

“Then we’re colleagues.” He held out his tiny hand. “Wilmer Otts, psychology.”

My hand engulfed his. “Teddy Wyandotte . . . er . . . sciences.”

“My first day on campus since I was hired. My office is just down the hall.”

“Join me for some coffee?”

“Sure.”

We wound up having lunch in the cafeteria at one of its square tables with plastic chairs. I eat there only because the cafeteria is near the science building and the labs. I don’t get into grand meals with palate-pleasing courses. I just want something that will quiet my belly and keep my mind going.

I asked between bites of a chicken salad sandwich, “What’s your specialty?”

“Developmental psychology.”

“So, you’re replacing Dr. Hymsdale?”

“I suppose.”

“Did you know her?”

“Only professionally.”

“What brought you to this rather hidden venue?”

“I was driven – you might say – to move to warmer climes. Was weary of the cold North.”

“Unusual for someone your age.”

“So others have said. Let’s just say I’m different.”

“Married?”

“Was.”

“Me, too. Children?”

“Just stepchildren.” He smiled an indulgent smile as if I were about to recount how wonderful my children were.

Instead, I just gave him the numbers. “I have five. Three with my first wife. Two with my second. My paycheck goes mostly to pay child support. Dr. Breznau calls me ‘Father Abraham,’ says I am starting a new tribe in the Middle-Eastern tradition. Fortunately, I own my house, bicycle to work, and don’t have expensive habits.”

“I’m looking for a place.”

“Hymsdale’s former place is for sale, but it’s small, like a cottage.”

“Really?”

“Nice garden, too. She was quite the gardener.”

“What’s the address?”

“2301 Piper Lane. I live down the street opposite.”

“I’ll have to check it out.”

Dr. Otts did buy the Hymsdale place and moved in that very week. He had the cottage stone walls repainted vanilla white with cherry red trim on the window and door frames. The original plain front door was replaced with a cherry-wood door lacquered and polished and with a small roseate stained-glass window.

After the house was remade, I thought How inviting! The cottage peeked out from down a river-stone path between the poplars and maples and oaks, like a cherry-vanilla ice cream sundae inside a forest green dish. I went over to welcome Otts to the neighborhood. The doorbell chimed softly and sweetly like an Alpine music box. Otts peaked out of his door as if he were a frizzy gnome or a forest troll. Smiling up at me, he said, “I’m sorry, Teddy, but the place is a mess. Still moving in. Still waiting for my furniture to arrive.”

Through the slit in the door, I could see over his head that he had few furnishings. “That’s all right, Doctor. I understand. Just wanted to say ‘welcome.’”

“Thanks. Well, I have to get back to work. A lot to do. See you soon.”

Before the beginning of the fall term at the annual convocation for faculty, he was formally introduced to the rest of us, along with two other new faculty members. Dean Hollander proclaimed, “Dr. Otts has published much in his area of specialty, and we welcome him to our faculty.” Otts stood, but his snowy-rimmed balding head hardly rose perceptibly higher than when he had been seated. I applauded along with the rest. I thought, Welcome to our obscure little town and our out-of-the-way university where eccentrics are pampered and considered geniuses.

Of course, my mind was occupied with my mathematical-biological theories, and I spent most of my time in the labs, running formulaic sequences through the computer, trying to link genetic dispensation with algebraic equations. Consequently, I didn’t see much of anyone except the students to whom I taught microbiology. More than any others, I interacted with my two reliably efficient lab assistants: Maria Cristal Benares and Thomas O’Leary (both married with families). I also used interns in the lab, but they changed from term to term or year to year, so I hardly remembered their names unless they were outstanding assets.

Sometime during the first year of Dr. Otts’ residency, I wandered down the hall until I found myself at his office. His door was decorated with bright many-hued, cut-out flowers and balloons. I knocked, compelled by curiosity.

“Come in,” said a congenial voice.

Dr. Otts leaned back, like an elf in a palm frond, in his desk chair. He smiled and said, “Dr. Wyandotte, good to see you. What can I do for you?”

“Nothing. I just saw your office and thought I’d look in and see how you were getting along.”

“Everything’s going well. Have a seat. How are your children?”

I sprawled into the one chair that seemed built for adults. “Your chairs are rather small . . . and colorful.”

“For the children. I asked how yours were.”

“They’re fine, but I hardly see them.”

“That’s a shame.”

I looked around the office. His shelves were filled with books. Behind him were psychology tomes from Rousseau through Freud and Piaget and Skinner and Chomsky and Maslow to Kohlberg – especially all things concerning human growth and development – but to his left and in front of him were a myriad of brightly colored children’s books of all kinds: pop-up books, nursery rhymes, fairy tales – books of all kinds for all children all the way from pre-readers to adolescents, ending with the Harry Potter books. Centered before him was a massive video screen and beside it was a library of VCR tapes and DVDs, holding seemingly every film or show ever made for children. On shelves next to the door were a variety of children’s games, board and electronic.

“Quite a library here, Sir.”

“I try to keep up, not only with psychiatry and psychology, but also with children’s interests. How are your formulas coming?”

“Making progress. I have done some statistical analysis of microbe development that fits nicely into a distribution equation. However, the more complex the organism, the less predictability – which is another formula. But for simple life-forms, frequency of deviation is becoming more and more predictable.”

“I’m glad to hear it.”

I noticed framed pictures of children on the shelf behind him and on his desk. “Are these your stepchildren?”

“Yes.”

“None with your ex-wife in them.”

“No, she cut me out of their lives, so I cut her out of the pictures.”

I laughed. “Tit for tat.”

“Sort of.”

“Well, I was out to get some coffee. Then back to the lab. Care for a cup?”

“No, I want to finish some reading.”

That, as it turned out, was pretty much how our relationship went. I’d see him in the halls or at meetings. We’d chat a bit. Sometimes as I pedaled by his candied cottage, I would notice him directing a landscaping crew around his yard. Although he kept Hymsdale’s orange, mango and papaya trees, he had replaced her vegetable and herb gardens with bright flowers: vivid yellow jonquils, waxy orange and red tulips, white lilies, towering blue hollyhocks, purple snapdragons, velvety pansies, and beaming golden sunflowers. I would wave and keep pedaling.

My best friend at the Academy and a colleague in biology, Simon Breznau, visited my house about once a week. His specialty was ecological systems and their effect on organisms, and despite what he knew about organisms and their reactions to systems, he was a smoker, a drinker and an overeater. And – according to him – a passionate lover.

Simon usually wore loose-fitting shirts and loose-fitting pants around his ursine body and sandals over his hirsute, paw-like feet. Sometimes he would come over to my house and we would sit on the porch, drinking tea, eating whatever he had brought with him (he didn’t trust me to have anything tasty and nutritional on hand) and discussing systems and formulae. He’d also puff on a pipe, so the blue smoke curled around his thick prickly brown beard and hair. He used the pipe as a pointer. When he wanted to emphasize a point, he’d grab the bowl and turn the stem to the listener.

That’s what he did one evening as we sat noshing spare ribs and nacho chips, a much heavier meal than I usually had. He blew a blue smoke ring and pointed his pipe stem at me and said, “’Daddy Longlegs,’ there’s something distasteful about Professor Otts.”

“You mean, ‘Smokey,’ that he’s as eccentric as the rest of us?”

“Remember, I’m an expert in systems.”

“I do remember that, despite your fouling of your own system.”

He laughed at my puny attempt to pick on him (because I cared about him and wanted him to stop abusing his body) and flashed his brown eyes. The pipe stem came closer. “A man has to live, Teddy. Not everyone can envelop himself in his thoughts to the exclusion of all natural urges – like you do.”

“I have urges.”

“Not urgent urges.”

“I urgently want to know how DNA propagates.”

“That’s a quest that you’re wrapped up in. It’s not an instinct or an urge. Not a pleasure outside your self.”

“I’m a simple person.”

“Simple my ass.” He stuck the pipe into his maw and puffed.

We gazed down the street at Ott’s home and garden, which even in the dim twilight seemed to glow with a radiant light.

Simon said, “Is Otts an apiarist?”

“No, I don’t think so.”

“His place is perfect for attracting honey bees.”

“Or hummingbirds, robins and wrens.”

“Or green parrots or any creatures attracted by ultraviolet luminescence.”

During Otts’ third year on campus, he acquired a grant to study preschoolers, which allowed him to use a classroom in the science building as a daycare center. The center was free to qualified parents. Otts used interns as staff. The purpose of the study was to test various learning theories. After two years, he published a monogram on the results and presented his findings at a conference and his academic star rose.

After that success, he began a kind of private practice, seeing children in his office or at his home. He specialized in curing childhood neuroses and behavior problems. Many wealthy and powerful people in the community sent their children to him; after all and unfortunately, to gain wealth and power, one often neglects the children, who will subsequently need some kind of intervention and therapy.

My own children were out of his reach, but I didn’t know if they had special problems or not, even though he invariably inquired about them whenever I encountered him. They were out of my touch or influence and had stepfathers of their own.

One Friday night Simon told me (over a bucket of barbequed chicken and a platter of corn on the cob) that Otts had a living room like a playpen. “So I’ve been told. Never been in his place.” He wiped his fingers on a napkin and lit his pipe.

“Yes, Maria Benares, my assistant, says he helped her with her toddler, who was having problems with the potty.”

“Yah, Maria and Tom. You got lucky with those two.”

“They’re very reliable and usually very agreeable, but they got into an argument this week.”

“Over what?”

“Otts.”

“Isn’t Tom from the Caribbean somewhere? Trinidad?”

“Jamaica.”

“Ah, voodoo and reggae and pigeon peas and jerk chicken. Next week I’ll bring pigeon peas and jerk chicken. So what was the argument?”

“Tom – like you – thinks there’s something phony about Otts. He doesn’t trust him.”

“A man of good instincts.”

“Maria thinks Otts is wonderful and performed a miracle with her daughter.”

The pipe stem came at me. “Parlor tricks, ‘Ichabod,’ – that’s what psychology is. Half of all psychiatrists go into the business to exorcise their own demons. They’ve taken the place of priests and sorcerers.”

“And not all systemic biologists are as cynical as they seem, ‘Big Ben.’”

The pipe went back between his purple lips. “Humph,” he puffed.

The old bear had me thinking, so in the lab the next day, I asked Tom during a lull in our classifying of the simple lives of our research, “Mr. O’Leary, I overheard the argument that you had with Ms. Benares. What is it about Dr. Otts that you dislike?”

Tom seemed taken aback because we rarely chit-chatted. He was accustomed to my single-minded focus on the work at hand, so he stood there regarding me silently for a moment and then asked, “Why? Have you heard something?”

“No, I heard only the argument, but you seemed so put off that I’d like to know why . . . I respect your opinion.”

“He gives me the creeps. I’ve seem him around children, and there’s something more than just professional interest in the way he addresses them. Almost like they are little adults.”

“Maria thinks he cares deeply about children.”

“Maybe so. Maybe too much. On the Island, a person like him would be watched very carefully.”

“Don’t let your imagination run away with you.”

“What is it President Reagan was famous for saying: ‘Trust, but verify’?”

A few weeks later, Otts resigned his position, abandoned the cottage on Piper Lane and fled the community. His leaving was so abrupt and unexpected that I was perplexed. My two assistants had reactions opposite each other. Maria cried as if she had lost a savior. Tom clapped with relief . . . and a hint of self-satisfaction.

Simon brought some grilled salmon and scalloped potatoes to my place and said, “You’ve heard the news, haven’t you, ‘Father Abraham’?”

“That Dr. Otts is gone?”

“No, why he left.”

“Why?”

“He was about to be charged with child molestation.”

“How do you know that?”

“Dr. Hollander told me.”

“Why?”

“She appreciates me.” He pulled out his pipe, and I, absentmindedly, struck a match and lit the bowl for him, saying, “Here, ‘King Arthur.’” I hadn’t calculated the probabilities, so I had a new regard for the bearish analyzer of systems.


END

"Child Specialist" was first published in A Collection of Nickel-Plated Angels, 2007. 

When this story first came to mind, I subconsciously created the ambience of "Hansel and Gretel."  In my imagination the two professor friends seemed to be an obsessive crane (who eats like a bird) and a sensual bear (who devours his food as if for upcoming hibernation), while the seemingly inoffensive pedophile took on the persona of a gnome (the tiny, odd Dr. Otts)--fairytale creatures all--for a stealthy, dark story that few "normal" people can fathom.  This inordinate interest in children is why all child-care workers must have background checks, although pedophiles comprehend that no normal person understands their compulsion and is repulsed by it.  They know they have to be sneaky.  Sometimes to discover a perverse personality, instinct is needed to override logic, which are also personified by professors Breznau and Wyandotte respectively.

It is a sinister story with a deceptive facade--a gingerbread house hiding wickedness.

Sunday, July 11, 2010

the romantic illusion



A ROMANCE


I imagine the first glance:
Quick like the eye of a bird,
Moist like a deer’s
Expectant like a child’s
Full of wonder and curiosity, newborn.


I imagine the first closeness:
The furnace of your body palpable,
Your hair lightly visible around your breasts,
The slight perspiration over your lips, slightly parted
Like a waiting door, fresh painted.


I imagine the first words:
Intense breath and mellifluous
Vibrating from your lips,
Flowing, flowing in waves,
Washing my mind like the ocean
Rinsing the shore, redolent with life and expectation.


I imagine the first touch:
Your skin smooth against mine,
Your cheek brushing mine softly,
Your fingers playing enchantments on my wrist,
Your hair falling like a net lured
With promises, sparkling in sunlight.


I imagine the first kiss:
Hot, soft, pressing and drawing me
Simultaneously, spontaneously
Into your embrace, into the core of the furnace,
Into your wild and full self,
A drowning into the pool of firsts and forevers.



Published in the Tampa Bay Review, Fall 1989

I wrote this poem on a dare.  At the time, I was working as an academic dean, and a female teacher who was married to an unfaithful man began flirting with me.  I was in a committed relationship and had no intention of doing anything, but I was sympathetic because of her situation.  She asked me to write a poem about love.  I wrote this, but it is a stealth poem because although it seems to be about romatic love, it is a deception.  The title "A Romance" if read carefully is the opposite of romance just as amoral is the opposite of moral and abnormal is the opposite of normal.

If not read carefully, each stanza seems to encompass a step into romantic love, but the first words of each stanza are I imagine, so nothing is really happening; it is all imaginary.  The final line, A drowning into the pool of firsts and forevers, is a final assessment of "a romance."  What rational human wants to drown in anything?  A drowning is an excess, an overdoing, and can mean the end of everything.  A pool is a collection; it can be a collection of water, but it can also be a collection of experiences--in this case romantic experiences.  The implication is that once again, but for the first time with each new lover, will come the enveloping romantic love in which one becomes infatuated with love itself, so one speaks in "perpetual hyperbole."*

*Perpetual hyperbole is from Sir Francis Bacon's essay "Of Love."

Having revealed my thoughts about romance, I can still enjoy love narratives and poetry.  Here are some of my favorites (most of these have been made into movies) :

Friday, July 9, 2010

the poet's reality



THE DEEP WORLD OF ROUSSEAU


He planes down
To where creatures thrive
In that silken blue
Light fragile as snowflakes
On the tongue.

Startled by a dorsal fin,
His senses electrify,
Amplify the liquid world; bleating
The banshee wail
In his own heart.

Some denizens have hunger like sharks.
Others are chic as angelfish
And just as fatal.
And some smile all day,
Rolling and blowing,
Rolling and blowing.

Here he plaints;
And here he learns his tales;
In the spectroscope of water,
In the liquefied air.


February 1982

Ah!  The bay!  How it touched my imagination!  I have often felt like an alien, observing the behavior of the people of the earth, as if I had descended out of my element into the ocean to observe marine behavior.

This sense of alienation reminds me of my favorite novel by Doris Lessing, Briefing for a Descent Into Hell.  A story of an amnesiac angel (perhaps, or a schizophrenic) who falls to earth has been published in various versions.

Thursday, July 8, 2010

the poet's reality


ROUSSEAU’S DEBUT


Imagine a child of God,
Curious as the fingers of dawn.
A child with radar eyes,
Who must be taught
That skin is one factor,
Religion and language, others.
That separate.

Alone, he had not considered this.
For him, each vagary was a tapestry.
Lucid, he sheds the taught ideas
As defunct boredom,
Safe boxes for stale cookies.
He likes what he can breathe:
Vast spectrums, chants and patois.

A confirmed safecracker,
He rolls into the world
Where boxes rule.
Oh, what errant hopscotch
He bounces among them
On six dimensions!

He forgets that boxes—
Clumsy as they are—adhere:
Boxes protecting box life.
So when they corner,
With mitre box and slide rule,
This little bravado in the square,
He wonders at their cross wails:
“Rectify him! Rectify him!”


February 1982

The work of a poet is not to fit into some kind of paradigm of a writer.  The work of a poet is to mine the truths of existence; to do so he or she must remain open to experiences of all types.  Although it is possible to shun particular behavior personally, it is not possible for the poet to look away from such behavior as if it doesn't exist.  He or she must look to try to understand the behavior that appears.  This openness is sometimes mistaken as personal preference.

In addition, no one will understand why anyone else would write without guaranteed monetary rewards.  The vast majority of Americans are motivated by money and, if they're lucky, by a career choice that fulfills them.  I have had a variety of interesting careers: (1) high school English teacher; (2) bookstore manager; (3) academic dean; (4) technical writer/proofreader; and (5) college professor.  But like being anchored to a rock in a river, I was--through all the currents of my careers--hooked to writing, which I have pursued relentlessly while doing other jobs.

Some artists have pursued their art to their detriment, albeit the more I read about such artists, I realize that each had some instability that overwhelmend him.  I am thinking of Van Gogh and Caravaggio in particular: two of my favorites.

Wednesday, July 7, 2010

French song and nursery rhyme



A statue of Cadet Rousselle in Auxere, France.

CADET ROUSSELLE
1.
Cadet Rousselle has three homes
That have neither rafters nor beams.
They are to shelter swallows.
What can you say of Cadet Rousselle?
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.
swallows
2.
Cadet Rousselle has three outfits:
Two yellow; the other grey paper.
He puts it on when it’s freezing,
Or when it’s raining or hailing.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.







This is a poster of a famous French Comedian playing the role.








3.
Cadet Rousselle has three hats,
Two round and not very pretty;
And the third two-cornered
That fits the shape of his head.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.




A bicorne hat.








4.
Cadet Rousselle has three pretty eyes,
One looks at Caen, the other at Bayeux
Without a very clear view,
So the third is his lorgnette.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.




lorgnette







5.
Cadet Rousselle has a rapier,
Very long, but very rusty.
It is said he seeks no quarrel,
But with the sparrows or swallows.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.





rapier







6.
Cadet Rousselle has three shoes,
He puts two on his two feet.
The third has no sole,
So is used to hunt his beauty.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.

7.
Cadet Rousselle has three sons,
One is a thief; the other, a rogue.
The third is a skinny stick;
He looks like Cadet Rousselle.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.

8.
Cadet Rousselle has three fat dogs,
One runs after hares; the other, after rabbits.
The third runs away when called,
Like a dog of cowardly habits.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.



















9.
Cadet Rousselle has three pretty cats,
That never chase and capture rats.
The third has no eye-balls,
And climbs into the attic without candles.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.



















10.
Cadet Rousselle married his three girls
In three different neighborhoods.
The first two have no looks.
The third has no gray matter.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.



This is a modern postcard from Auxere.
(I have censored it a bit.)












11.
Cadet Rousselle has three coins.
They are for paying his creditors.
When he must show his assets,
He closes them tightly in his purse.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.


deniers




12.
Cadet Rousselle becomes an actor,
Just as another makes himself an author.
In the café when he plays his role,
The blind do find him drole.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.




A Québécoise poster for a performance.









13.
Cadet Rousselle will not die.
For, before taking that step
He must learn orthography,
To make his epitaph himself.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.

14.
Cadet Rousselle was a warrior
In the fashion of a turncoat,
And when he marches to victory,
He turns his back on glory.
Ah! Ah! ‘Tis quite so.
Cadet Rousselle’s a fine fellow.

 
 
 
 
 
 
 
 
A movie poster.
 
 
 
 


 

These are my translations of the song (June-July, 2010).  Where the original may have a specific reference to someone in French history, I have substituted a general term to which American readers can relate.
 
Cadet Rousselle is based upon a real person, an eccentric character who became bailiff of Auxere in the 18th century.  According to Wikipedia, In 1792, Gaspard de Chenu wrote the song, which was spread beyond Auxere by revolutionary volunteers who joined the Armée du Nord
 
Here is a cartoon version of the song for French children: Cadet Rousselle
 
Here is a Cajun zydeco version from Lousiana: Cadet Rousselle, Cajun
 
You can see how thoroughly Cadet Rousselle has penetrated French consciousness.  It penetrated mine when I was child.  I believe I learned the nursery rhymes either from My Book House or The Children's Big Book of Mother Goose, both of which mother bought for her children and read to us.
The Children's Big Book of Mother Goose;