Dance the Revolution!

#433 Dance!.JPG

Think about how it would change the world, if we were to understand, and treat, music, dance, poetry, the arts, not as cost-deficit sidelines, to be cut from schools to make way for serious subjects, but as the reason and purpose for everything else we do!

We need to raise food, because we need food to give us pleasure, and to make art! We need shelter and housing, so we have places we can make music. We need medicine, to stay healthy so we can dance and make poetry!

Make life for pleasure, for deep pleasure, and it will change the world.

(#433 Acrylic on canvas Dance!)

Goby’s Journal: Reading Emily Dickinson.

Began the day, inspecting the garden, reading Emily D… I’ve been systematically reading the whole of the collected poems, beginning to end. I skip around, read back and forth, but always keep to the sequential reading as well. Today, 564-603… 1862. A reference to Antietam… (Scarlet Maryland) in #562. She follows the news, and fuses intimate domestic scenes with distant events, the way she does with cosmic, biblical, religious references, deflating the latter, and casting a miraculous light on the everyday. Though there’s no deflation of what she has learns of the war, or human tragedy. #564 made my brain explode. I read with a dictionary at my side, and can only cover a half dozen or so a day. I write marginal notes in tiny letters with a mechanical pencil. The binding has gone the way of all impermanent things. Entropy everywhere. I should buy a new copy before I accidentally drop this on the floor, and all the pages scatter–hopeless to return them to order.


Thinking about how she follows the news… how, no matter how devoted one might be, one can only read to the last page. There’s an end to a newspaper or magazine. What would she have made of the internet? There is no end to the internet, or Facebook. One goes on clicking and clicking, until the clicks are what the ticking of a clock was for those who lived when there were still clocks that ticked… the sound of one one’s life being drained away.

Goby’s Journal: Harihara

images.jpg We learn from Freud, as from novelists and poets, if we learn anything at all, that we can never “know ourselves.” We fool ourselves in too many ways, and what we are, our Truth, is never fixed, but always moving, always becoming, becoming something else. How much more the difficulty, when the object of our knowledge is at a great distance.

Or is it the other way around? –the closer to the center (should I say, the heart of our being?) –the less we understand, the less we can claim to know?

Closest to one we love, our knowledge approaches a zero point–though knowledge (always imperfect though it is) circles all the while like stars in a galaxy around the black hole of love, of self–around that center–with ts power to draw toward its eventual horizon–all that we believe we know: self & beloved,  & love itself– & yet, remain untouched by mind–untouched, above all, by language, even while, in ways beyond our power to know–there from that dark, unfathomable pool, emanates the forces that shape language, all that we know, think–or think we know.

Is that how philosophy came to be captured in a word for love? And how, all the arts, all that has power to bring us to the end of knowing–are of the annihilating & generative power of love?

Love, the word we give to that manifold desire that can’t be named, or tamed–destroyer and creator of good & evil, end & beginning of all that we make & do, fusion of Vishnu and Shiva… Harihara.

Open Casket:

I keep thinking, that had Dana Shutz kept that specific association to herself–the photograph of Emmett Till in his casket–that there would have been no problem. But then, it probably wouldn’t have been accepted into the Whitney Biennial, and there is its failure, both aesthetic and ethical. That it has to draw on the title for its power is a sign of it’s weakness, of it’s failure as a purely visual work.

I think that the power of any work of art–of any medium or form, lies in the veer from direct association, even if that reference is specific and representational. She chose an abstract and ambiguous rendering of her idea: so far so good–but then, maybe because she thought that’s what would get her into the show, she had to give in to the urge to Name it.

A public image as charged, and as specific to the people involved, as that photograph, is all but beyond the possibility of direct representation. The public caste is so strong, so loud, so opaque, that it defies penetration. What we might hope for in a work that comes out of an artist’s desire to respond to such events–is that it take us deeper, that it illuminate what we did not, could not see in the public image. That it strips away the title, the naming, from the received associations, and takes us to a place we had not, could not have imagined without it.
Sensational, news-laden titles are inexcusable shortcuts, evasions of the harder work of the imagination. Whatever merit or power this painting has, is erased by misplaced ambition, by the surrender to the utterly corrupted ideas of artistic “success” in a capitalist world

The Poem Tree

Rescued from the dusty basement, cleaned up and in my drawing studio.

Poem Tree.JPG #287 Poem Tree 4

#287 Poem Tree 1.jpg

There’s a history to this. In 2009 I began to hang poem cards on a dead tree on E. Passyunk, in South Philly, not far from where I lived. At first, I would find them missing, or torn on the street the next day, but I kept going back with new ones, and strings on can tabs, and ribbons, and decorated the poem cards with glitter, colored them with crayons. After a time, they were left alone. People began to notice, to stop sometimes to read the poems.
In the spring, the city uprooted the dead tree and planted a new one, a living tree. This piece is my memorial to the original poem tree. I wrote a chap book of poems: The Poem Tree.  The words to the first poem in the chap book are what you see hanging on the branches. Those large leaves are American Chestnut, from Morris Park–trees that will die soon, long before reaching their climax growth–as all American Chestnuts do since the blight. So in a way–this is also a poem about the loss of The American Chestnut, a tree that was once the Queen of the Eastern Woodlands.

The Dead Tree (a poem)

The tree
is

DEAD
it is
a dead tree
that
has died &
is

NOT ALIVE
now

just dead

I hang some leaves on the dead tree
with fine copper wire
& some aluminum can tabs
& some red plastic rings from my Spirit Stick
& a green ribbon & a single pigeon feather
from my Spirit Stick
(like a bird has come to pay respects & left a
card)

I think the tree feels better
even though it’s dead

I know I would

View portfolio here ART BY WILLARD
For photos on this blog:CLICK HERE, and scroll down.

Winter: Goby’s Journal

th

Managed to do food shopping yesterday afternoon. Coughed all the way there and back. Once in the store, warm air, I was fine. Wore me plum out. I started off to an Icarus meeting later… got about a block, turned around and came home.

Looong nap today after sleeping late. If I were one of those 19c English poets, I’d be one of em who spent winters in Italy for my lungs.

Any wonder that Winter appears in my poems as Death? If she sometimes appears as a temptress, it’s only because I do find beauty in winter.

I wish I could find a publisher for Chronic, Chronos, Kairos

January 20, 2011
I smiled when winter came to call…
…thinking she’d spared the worst. Ho HO, he said. Her teeth (where I’d thought, Ice) were coals. Two starving sparrows for his eyes. Dream on! she said, & blew into my mouth & touched
her fingers to my lips, caressed my lungs
& took my breath away and tossed it to the wind!

Art-by-WILLARD.com

#622 – with page from Goby’s Journal: Stasi Trump Jesus and the Subjunctive Voice

18″ x 24″ Acrylic on wood.
Layering. Interested in giving an impression of depth, without resorting to geometric perspective. Pollock, of course… but also, the illusion that one is looking at something… both real, and mysterious, like Hubble photos, or electron microscopy… in color. right click on photo for more detail.

622
View GALLERY HERE.

… I’m thinking of using this piece of a packing crate for a frame. Paint it black.
packing-crate-622

_____________________________

Goby’s Journal: December 23, 2016

Stasi, Trump, Jesus and the Subjunctive Voice

In an age when anyone who hears us speak, in person, or through social media, students in our classrooms, our patients or customers–when anyone might feel empowered by the Trumpocracy, to report you, to troll you, to try to get you fired, blacklisted, kicked off a plane…
It would be well, were we to revive the long neglected subjunctive voice.
To polish our skills at not quite saying what we mean.

If one were to imagine oneself, say, in 1956 East Berlin, one would find ways, even in front of a class, of speaking to those who “had ears to hear,” without giving cause to those who would take you down, were they so inclined. Which brings to mind–that phrase, “those who have ears to hear” — the language used by Jesus in the Gospels: speaking in parables. Jesus, too, lived under a hostile power. How much of that language was made to pass safely through the Roman occupation?

We aren’t at that level, yet… of Stasi, say… where no one, not even our most radical friends, can be trusted, because anyone can be made to be an informant. Let them only describe what will happen to your children, your aging parents, should you refuse. But this is where we are headed.

I have heard stories. Some reported in news, some seen on social media. Would that it were true that nothing of the kind had happened to anyone I know.

Be careful. Don’t say anything in private you wouldn’t say in public, cause… nothing is private. Learn from poets how to say more and less and other than what you mean.

This is my faith: bones of a Radical Manifesto

Nothing here about petitions, phone calls or emails to “leaders” begging them to do something for us. Or supporting candidates. Or elections. This is a radical agenda. The simplest outline of a Radical Manifesto. The basics. No NGO’s. No Gov. approved non-profits. Go where permit and license not needed–or if they are, do without, and call it Resistance. Start with the basics. The foundation. Work for change from there.
—–
In these dark times–what can we do in the world?
Ask … what matters, always, everywhere?
Food.
Medical/health care.
Shelter/clothing
Education (in the broadest sense)
… and the arts: poetry, dance, music, the visual arts… because without language that has the power to remind us how to be human–we are lost.
Imagine, then, what each of these might be in the world we want to live in.
Join hands with someone. Together, begin to clear some space, small or large, for that to happen. To plant the seeds, that will become our garden… the garden we thought had been lost to us forever.
If your hand is empty now–if you are not within reach of someone whose hand you know you can grasp–acting in resistance and solidarity to make that world… how could one not but feel helpless? And if you feel helpless–so does someone else.
Find them…
They need you, as you need them. Believe in yourself–that they need you, as you need them!
Speak up. Reach out. When we find one another, we will know what to do. Trust that this is so.
That is my faith.

Some things age better than others…

Not a bad day. Two little poems. Three hours drawing. Grocery shopping, which I’ve been putting off (I HATE grocery shopping… selections in the nearest supermarket are so boring, and I can’t afford either time or money to go to the Reading Terminal or the Italian Market every time I run low on food). The local food co-op, Mariposa, is for peeps with way more money than me).

I was happy to have written new poems… and surprised to see that I’ve written more than I’d remembered the last two years… and that they didn’t seem all that bad. I got to thinking about this… about what lasts in my estimation.

I like a painting when I finish it… or I’d either keep working at it, or give up and paint over it and start again. Many, if I like them at first, I’ll like for a few days… some for weeks, or months. Very very few will I like enough in a year or so, that I won’t be ready to give them a coat of gesso and use the surface for something new.

I haven’t had to buy new canvas or stretchers in months!

Water colors, metal points… similar, but I can’t paint over the water colors, and I’ve not been making metal points that long–though several of these I’ve already relegated to the scrap heap and deleted photos of them from my blog.

With poems, it’s different. I very seldom feel more than tolerance for their existence when I finish them (though, strangely–if I accept them at all–I want to share them right away instantly-often to my embarrassment). But I’ll find poems I wrote years ago, and thought next to worthless when I wrote them… and think… wow! I wrote that? That’s not half bad!

I’m glad it takes so much less space to keep old poems, than old paintings…