(For a dear lady)
In a burst of longing
Dawn grows through darkness
The heart love gives
Breathes time into us
This is the everyday
Hard work and heartache
We gain our sight
All by one sky
In a moment of light
Observe the way
Paths cross our town
Clouds parade into view
We approach night
Face the same midnight
With our candles and carols
For the child in everything
In the court of the moon
With magic of starshine
The street wind sings
May we gather a feeling
Live the new life
As great trees in our midst
And noble towers
Bow to holy night
[12 Jan. 2012]
KRIS HEMENSLEY/KEN TRIMBLE
"the pilgrim piece"
I hope you enjoyed 'Shores' [Shores of American Memory, Littlefox Press, '11). I read that poem on your site about the Albion. [David Pepperell's The Albion Jukebox Murder 1972 ] Yeah I can totally relate to that. There are so many or so few depending on how you look at Facebook where I can call a person friend. In you I feel totally at home & although distant, meaning we move in different circles & distance is hard, I regard you as a friend..................cheers Ken
Yes, of course! Very much so! Book, friendship, the lot! I'd been reading it from the beginning then today began from the end! You're very much the 'silent witness', kind of imperturbable. You dont get in the way of the poem/the perception. Laudable.
By the way, I have s/one coming in next week for a copy of the new collection, and hope that another acquaintance will also be interested!
Loretta just told me she was at the Rainbow wake you write about [Nights at the Rainbow, p1]. Small world!
We'll talk again soon!
Best wishes, Kris
Thanks for words. I was a regular at the Rainbow for some years. I used to see the Paul Williamson Hammond Combo on a Monday night. And the Grand Whazoo, and on a Sunday afternoon. Chic was a very personable fellow who had the ability to treat everyone as a friend. By accident I hadn't heard that he died. A mate who ran the Rob Roy told me that Chic had this amazing funeral so I just imagined it. While pubs can be destructive they can also be great community gatherings like a family. In the poem 'Shores Of American Memory' the section on O'Reilly's is a case in point. I met a guy who told me to go to that pub on a Monday night because they have an Irish jam session in North Beach. He sent an email to the owner Myles that I would be coming down and that I was a poet. Anyway Myles happens to love Australians. That night I met Myles and for the whole night I didn't buy a beer. He even sang And The Band Played Waltzing Matlida for me. People came up to me and said, you're that Australian. There I met a fellow who sang with Rambling Jack Elliot, & the great grandson of Gurdjieff the philosopher. It was if I was being honoured. I guess places like the Rainbow & O'Reilly's make you feel special for no specific reason, it makes you feel as if yes there is a family and life is good..........cheers Ken
Your evocative, inspiring reply re- the Rainbow has me thinking that we could attempt the"conversation" by email? How about it?!!! (This was to be a conversation abt this & that, especially the pilgrimage aspect of both poetry and yr journey to the US, Merton , Jeffers etc)
I salute your energy & openness, I mean that you can be there in such a way as the O'Reilly's scene opened up to you! And those connections are astonishing...
Better get back to the Shop!
All best, Kris
Sure thing, that would be great. Do you mean explore more avenues of the pilgrim experience or in relation to my America trip? Because pilgrim travelling can open up a whole new world to everyone, artists, poets, anyone who is open to the journey. Personally, Joe Campbell's books on myth had a great influence. One has to cast off or shed your old skin and believe in the path. Even if a thousand people say you're crazy you have stick at it and believe in yourself. And there are times when you go 3 steps back & 1 step forward but the point is you have to get up. I am no angel and I sort of liked what St. Augustine said, 'Lord make me perfect but not just now', or something like that haha! It was like going to the monastery and meeting the gardener Joseph Bottone who turned out to be a mate of Creeley. He had a hermitage on the grounds overlooking the Pacific Ocean. One time he invited me over for a joint and a couple of shots of rum. Certainly we played up but it was great! And the whole thing becomes infectious, the pilgrimage. Suddenly not only poetry but also the monastic along the Big Sur coast became a powerful adventure for me. Because you know that Robinson Jeffers' home is in Carmel, and a few kilometres from the monastery is the Henry Miller Library and you're riding over the Bixby Bridge where Kerouac stumbled and hooped & hollered in the foggy night. That below the bridge somewhere is Ferlinghetti's cabin. You become sort of tuned into the poetry of the land. You know that Ansel Adams & Ed Weston two of America's great photographers had homes there as well so it becomes a symphony. Even New Orleans I got to know the stories of Johnny Whites Bar. A fellow by the name of Paddy told me that when hurricane Katrina rolled through, the only bar open in the whole town was this one. So I checked it out, it runs off Bourbon Street almost opposite The New Orleans Preservation Jazz Hall. A tiny bar where twenty would be a crowd and I'm having a drink while watching Germany kick our arse in the World Cup! You get immersed in the moment & because I studied photography when I was young I became a good watcher. And the whole idea of watching takes you into another world. A lot of people travel but never see or they only see postcards & that isn't travelling.............cheers Ken
More reflections on Thomas Merton this time. You know he went to Columbia University just a few years before Kerouac and others. In fact he published a novel (not sure of name) at same publishing house as Kerouac's first novel Town & City, Harcourt and Brace. His mentor & friend was Mark Van Doren who also taught Kerouac. Merton was a few years earlier than the 'Beats' but he was interested in the jazz scene, drank and smoked and had his way with women. Yet Merton was called to be a monastic and lived that way for twenty odd years. I am attracted to him because he struggled nearly every day he was in the order. Yet he stayed true. When he wrote his autobiography, The Seven Story Mountain, from his Trappist Monastery in Kentucky, people in America went crazy about it. It came out just after the war and I guess people were dealing with that sense of loss that war brings & so they found a prophet in Merton who spoke their language. The irony is he went in the monastery to deny his writing talent but the church had other ideas. They wanted him to utilise his talents so he could be of use in getting converts etc. Another irony and I didn't know it at the time, Merton wanted to leave the order of the Trappists and become a Camaldolse. That is the order I am in. It is more hermit whereas the Trappists are more community. You know, when he went in the church was far more restrictive than it is today after Vatican 2. The time he went in the church was convinced that it was their way or the highway as the saying goes. Meaning they had no time for other faiths and his order were very strict. There was no talking except only with meetings with the Abbot about spiritual direction with either him or a Director. Life was lived by sign language. And life was hard work. Most monasteries are run like farms. You get up early work in the fields, pray, read, eat, sleep then repeat. In fact it is a hard life. Some work in the kitchen, others may be allocated to cleaning guest house accommodation and in Merton's case he was told to write. There was tremendous tension with Merton I think because on the one hand he wanted to deny his writing talent & on the other he loved the celebrity. Even not being allowed out of his monastery he still had this aura that people craved. People like Huxley corresponded along with Joan Baez and many others. When Merton was finally allowed to attend a conference in Thailand in the 1960's he went to India & Sri Lanka. At a place called Polonnaruwa there is a giant stone Buddha reclining on his side. In his book, Asian Journals, he tells of this One Moment or unitive experience. The writing is sublime. From there after all those years in the monastery and his epiphany in Sri Lanka he is having a shower, and after he's finished he begins to shave, and is electrocuted. I reckon wow what a perfect death. So Merton in a strange way was the fore-runner of Kerouac and Jack devoured Merton but sadly couldn't grasp him...............regards Ken
[re KH birthday greetings to KT] Facebook have it a bit early. I have it on the 12th, the same day as Christopher Columbus discovered the Americas. Actually my father has the same day as well and mother is on the 12th June & my brother the 13th December, the 12th month.
Began reading Kerouac's The Dharma Bums. It is a fine book.
My friend and spiritual head of the Australian part of the Camaldolese has just returned from his own pilgrimage. He went to Italy where they have a General Chapter once every few years. He is an interesting fellow. He went to India in the Eighties and stayed with Bede Griffiths & was initiated into sanyassa. Now I went through a similar process but as a bramachari student. Am I right to say you stayed at the monastery in Kentucky where Merton lived then went onto Sri Lanka and later Thailand? If so wow. Did you see Polonnaruwa? Michael (priest friend above) is taking me out for a curry meal for my birthday. Lastly thinking about putting book in for awards. Who knows if I don't give it a go? The only thing is I get mixed up with their enrollment dates. Like the John Bray award you have to put your form in about 6 months before award is given. The only thing I worry about is that people think I am writing it as an American poetry by proxy. From my point of view it isn't, instead I wanted it to be a pilgrim piece if you will. Anyway that's the way I wrote it and that's that. Thanks for birthday greetings....................kind regards Ken
(Wed, Oct 12, 2011 at 6:36 PM)
Any further news on that interview on pilgrimage?..................kind regards Ken
(Thu, Oct 13, 2011 at 12:37 AM)
just back an hour or so after cleaning up the shop following [Owen Richardson's] launch for Gig Ryan [New & Selected Poems, published by Giramondo] ... very big affair, exhausting, and heaps of fun!
Re- the pilgrimage i/vw, --yes, will look at it again on Thursday (my day off)...
If I can get away on Saturday for your reading at Federation Square I will!Good luck!
talk soon, k
I managed to get away from the Shop around three p.m., and DID catch half of the reading at Fed Square... Was disappointed that I'd probably missed your set; heard several of Robert Lloyd's poems & couple of songs, then all of Michael Heald and then, a small miracle, you were returned to the stage for one poem! Was very interested in yr reading voice; it reminded me of Robt Lloyd's singing voice! Probably the most resonant poem I heard this a/noon! Well done! Can only guess at how you felt (reluctant?) but you sounded swell! I had to hurry off straightaway afterwards and anyway i cld see you guys closing in on one another so better (I thought) to drop you quick line than to cut in. Time for me to recouperate now. Will see what I can get together for you around yr splendid Pilgrimage responses, and will send before too long.
Didn't see you sadly, I was in another zone haha! Glad you liked my voice hope poem was good too. Not sure where the voice comes from but it helps with the delivery or spell of poem. Robert & I thinking of doing something together more duets in future. I really like him, he's a real nice guy. I really appreciate you coming, and when pilgrim thing is right for you I'll be here. Just got home, now 9pm, had to walk half up a mountain pitch black. Now settling in at home with a good red.....Youre the best..............Ken
Mine have mostly been head & book journeys, Ken, though I did follow in Merton's footsteps to the King's Palace in Bangkok in 2005. Loved the Ramayana murals there but afterwards, when I checked Merton's own response in my brother Bernard's copy of Asian Journals (--I was in Bangkok en route the UK-- ) realized that Merton had only qualified appreciation (Disney kitsch etc). But yes, was well aware of Merton's Bangkok story, and so to that extent it was a kind of pilgrimage in itself. But Gethsemane in Kentucky only in my reading, for example via Merton's book. The Sign of Jonas (I have the 1953 1st British edition, Hollis & Carter, London), and appreciated immediately the tough rigour of that practice. (Penultimate paragraph in the Prologue is a beauty & somewhat a propos of even our correspondence : "A monk can always legitimately and significantly compare himself to a prophet, because the monks are the heirs of the prophets. The prophet is a man whose whole life is a living witness of the providential action of God in the world. Every prophet is a sign and a witness of Christ. Every monk, in whom Christ lives, and in whom all the prophecies are therefore fulfilled, is a witness and a sign of the Kingdom of God. Even our mistakes are eloquent, more than we know.")
Regarding Sri Lanka : I went ashore in Colombo as a 19 year old, working on the Fairstar (the Sitmar line's flagship), latter part of 1965. I only did a taxi round-trip with workmates but absorbed massive sensation & inspiration from my one & only Ceylon experience. For example, classic deja-vu on a river bank when, leaving my colleagues to the display of working elephants, I wandered off by myself, towards the cries & laughter of kids diving into the water, and suddenly realized I knew the place, that is I recognized it from a dream which I'd had in Southampton before the voyage... the colours, the heat, the angle of embankment to water, the screams of the children, the splash of water et cetera. I was shocked & amazed, walked away from it probably because called by colleagues to resume our taxi tour. But could have stood there forever, in wonderment, trying to understand what it meant!
[16th January, '012]
A Note on Shores of American Memory
It's as though sentiment (one's disposition towards the world) might parallel insight : the personal simultaneously a universal. But Ken Trimble isnt Khalil Gibran! Dont intend unkindness or ingratitude for what was a consolation & stimulation at age twenty, but the person walking around in these poems is no spiritual cipher. By way of contrast, David Ellison & I often refer to one or another example or exemplar of the school of Desperate Mysticism. No doubt at all that this poet's a seeker, one who doesnt shy from either big Metaphor or Reference, and the imprint of the world is all over him. It's audible like the Charlie Parker & Sonny Rollins, the Hank Williams & Bob Dylan who pop up in the poetry --visible like the place names, the brand names of daily consumables, let alone the influential books & authors (Kazantzakis, Jeffers, Rimbaud, Bukowski, Hamsun, Kerouac, Whitman, Ginsberg, Micheline, Kaufmann, Shelton Lee et al) which glue his soul-scape together. Not half bad for a "beggar poet nothing more, nothing less" (p. 44, 'Sixty-Seven Cents'), --which in the Post-Literature era, as I call it (and I'm not sure I dont 'simply' mean Post-Modernism) is a pretty good manifesto. "I cannot dazzle with verse, rhyme or rhythm" the poem goes, --G M Hopkins ? (but who can after The Windhover ?)!
"Just stories of what I've seen / And what I've done. / I walk the streets of the world a homeless drifter / Australian my heritage the planet my home / Listening to stories, writing them down"...
(16th January, '012)
Jack Kerouac’s Holiday House
Jack Kerouac built a holiday house for Beat poetry,
Mountain climbing Matterhorn in Mill Valley California,
He took Gary Snyder from the road and made a summary,
Jack Kerouac normally lived with his (sick old) mother in Florida.
The traveller never had a daughter till taking the blood test,
“You can’t fall off a mountain” in the height of beat mania,
He wrote some good freeflow haiku - history composed the rest.
He never read every book in the Buddhism (text) library,
His confusing stream of consciousness was typing from the chest,
Rehabilitation became spirituality,
Jack Kerouac would hit the road again when he drank alcohol.
i don't recall the arrival
or having left. the point
of departure is the same
as the plosive of the asterisk
on a map, monosyllabic arrow
saying 'you are here'. contexted,
antiquarian, rigidly published.
spinal-tapped into parts of speech.
i am grammatically unscathed,
unbound on page or board
detectable only in the drawing
of breath, erasure of exclamation.
in the swoop of transitive verbage
a haunting space
lifts from the flatlands. never mind that
dislocation is in the reading.
i pick at threads of frontier
with my left-handed thinking. in the torn
apparel of second language
i remove full stops from islands
of air, listing under the salt
of problematics, participles
and suitcases. i am otherly compassed,
declining rite of passage and needle.
every place was once
somewhere else. meaning unsilts
ragged settlement, indexes
the gravel of logic.
stone and ink chapter memory
under weight of light, creasing
the eye, slubbing the tongue,
less engraved, i dissolve
sediment of interpretation,
landing at the point of it all.
assertive with grace & charm
counter intuitive as it may seem
grow a beard before train travel
& be accosted less by evangelists
particularly if your destination
is a small commune of musicians
across cow paddocks
from a bed & breakfast haunted
by freshly retired footballers
if you have a fly buys card please scan now
if you have a fly buys card please scan now
if you have a fly buys card please scan now
acquire a butterfly
some barbed wire or a tall ship
but when the toaster decides
an intricate mishmash
of marvel characters
fire & brimstone
& your topless girlfriend as a centaur
may assist two marathon runners
with their mission to negotiate peace
among rival factions
the black suits & the grey suits
in a breeding ground for ibis
not noticing can be highly functional
if you have a fly buys card please scan now
* * *
* * * *
except the milk jug
light * (oO enters
from the left
photons (o* exacted
by craft into
radiant iguazuae fall
* oO * *
* * * o *
gleam)"around the house
wave ((((from *
annealed and calcined
onto the days
unuttered to forever
a box of quanta
the imprimatur of hand
through a fashioned utensil
the brush not the pencil
and thence and thus
this alchemy will not defraud
nor be marauded
by a god of love
TOAST TO LEONORA CARRINGTON
From the newspaper, I didn't know I was on the way
to a wake. When the white horse appeared
I rode so long that I forgot
the gold star'd cloak I didn't wear
on the way here. Regret of what
she could have told our new lives
made old. Sphinxes? sure.
No state yet certain, the reddened head
glows in seeming fire. Tent in an orb
of alleyway dreaming. Seems I lost
my white horse amongst her images
maybe dreams are only an imagined "snake clock"
Here then is our cloak of stars
the cloak we take to night, to love.
A grin beneath clouded hair
levels a demon, empties a stare
of the always familiar coral skied
or basalt eyed. The kind of minotaur
that floats above knowing children,
hooded. Greenpool shade of light
which drifts above our horseless wake,
floating sound of glowing eyes, one dead star
in our mouths. Now we ride back on our blanket
of colours, life now at "the house opposite"
in the shudder-hum of art. We return to the country
we never knew, but now with her silent hall of maps
in our eyes. Nothing starts to burn. Seated at our table,
the real news fresh on the page, concealed ocean high and low
We raise our glasses to the cartographer
of "Down Below"
[Melbourne, 28th May 2011]
REGARDING LEONORA CARRINGTON
[NOTE : I'd remembered Finola's mention of her "painter cousin" but was astounded when I came across her name in Paul Ray's The Surrealist Movement in England (Cornel University Press, 1971), & later in Breton's Painting & Surrealism. Her book, Down Below, was praised by Pierre Mabille & Maurice Blanchot; & in 1946, Claude Serbanne described her as the "greatest English surrealist poet, and, without any argument, one of the four or five greatest poets of surrealist tendency on the international scene." Her paintings were included in all the Surrealist exhibitions since 1937, & occupied a prominent place at the 1960 Surrealist exhibition in New York. --August, 1981; Kris Hemensley]
Dear Kristo --,
I'm terrified of my cousin Leonora Carrington & I'm not terrified of many people but when she is drunk & I am too, our ability to get on is positively genetic. And you have gotten the very correct word for her P R I V A T E. Her play Penelope (I think) written when she was 17 was produced 1st in something like 1966. The Hearing Trumpet written for her friends in 1954, or something, was first published in English in 1975, and so the story goes, her writing is her own and whoever wrested the mss from her to publish them must have approached her personally, got her drunk, got her respect then said Please....do it for me, go on etc. etc. I spent six weeks in Mexico with her husband, Chiqui Weicz, for whom The Stone Door was written in 1947 or something. During the war, she was put in an Asylum in Spain because she wanted to save her previous lover, Max Ernst, from the Nazis & there is an account of her time there, which is a brilliant merging of the alchemical & the surreal (truths) in the subjective (misunderstood necessarily) in booklet form, called Down Below. On the other hand her painting is public, famous in Mexico City, N Y & Paris (little bit London) & those people here who really know the Surrealists (and there are apparently FEW) of course know her work well. Periodically she'll have an exhibition in one of those Madison Ave commercial galleries which sell out --she's constantly fighting with her agent as she feels she has to KEEP her 3 men, who are those narrow-fingered aesthete demi-jewish Europeans --two sons and husband; the older son, my age, Gaby is in theatre, Pablo in medicine. She is notoriously a non-letter writer, has friends like Larry, Trotsky's son, and Luis (Bunuel) & is herself one of the big expatriot names in Mexico City where there are lots... too shy and multilingual... Chiqui was telling me of when Antonin Artaud came to stay & find out the secrets of the Shamans, pre-pre-Castaneda, & wrote that crazy book The Peyote Dance. I stayed in her house in Cuernavaca which is under the same volcano as Malcolm Lowry's. To ask me about Leonora Carrington is to ask me to explain the mysteries of my own DNA. It's queer that locked in my gaol of English Language & bonny Aussie enthusiasm I should meet or have the possibility of meeting such names so closely ... for to be the prima de Leonora Carringtom is almost to be her when she is absent, 'cos family is all-hallowed when your language is Latinate. But my ignorance beneath the enthusiasm & the awe is it, for I could only approach on the personal ... not the professional, or careerish, so I don't know really what to say. I've gathered that I should respect the private, as I know how much mail arrives to be ignored or laughed off in the Calle Chihuahua. None of them write letters, but your best bet is Gaby --Gabriel Weicz-Carringtom, Calle Chihuahua 194, Mexico City, Zona 7, for information, opinion about living surrealism, or an approach to his mother, or possibly a copy of Down Below.
A day later : yes Gaby would be more approachable & possibly a more rewarding correspondent as Leonora is at the moment incommunicado in N Y city & some Tibetan Buddhist retreat, rehashing her whole life & for her these things are passed, whereas for Gaby to put it into perspective would be good (they are muy mucho close). Perhaps you could think up some inspired questions & suggest publishing what he has to say & show him the Merri [The Merri Creek,Or Nero was Earth Ship magazine's 3rd series, & in turn presented H/EAR, eight issues, 1981-85] --whatever, it's not as though he's not a writer himself. And they're all deeply in the Anarchist tradition, so the Merri should stand on its own merits. My meetings with Leonora are/were too personal & as yet out of historical perspective to make any sort of a piece at the moment ... still haven't decided whether to use the ticket I have for Nov. 7th to return.
Wish for myself the secret of the freedom of the surrealists, for my writing I mean, but don't have it, can understand more what the Bauhaus was about, even that quite newly & to do with my own experiment [the work in progress which would become Remember the Tarantella, 1987, -ed.]...
NOTE (1) :
After the issue was published, Finola sent an urgent note, "I have not read everything yet in H/EAR ye'll understand that. One thing I read & if you've not sent all away, fix it : I am LA PRIMA DE LEONORA, not her PRANA ((that's embarrassing for PRANA is the magical Life Force that invades orange juice & fresh air & so on and PRIMA is only 1st cousin feminine))" The correction is made in the above.
When James Hamilton told me he'd recently written a poem for/about Leonora Carrington, having read the newspaper obituary, I responded with my story of Finola's family connection and my publishing her reminiscence 20 years ago in H/EAR. We thought it would be great to publish the texts together! I sought Finola's permission to reprint her letter here. I have reinserted a couple of passages omitted from the 1981 publication. As Finola & I have agreed, publish & be damned!
DAVE ELLISON,KEN TRIMBLE,
CECILIA WHITE, artist, photographer, poet; first met when she performed Vicki Viidikas jazz poem at the MOK Anniversary event at Collected Works couple of years ago. Studied in Germany ('80s) & presently in New South Wales. Winner of inaugural national Cricket Poem Prize. Current project is Breathing Space.
ALBERT ROTSTEIN stalwart of boho Melbourne city & country art & poetry scenes over the decades. His poems most recently appear in Pete Spence's irregular pressings, more publicly & regularly in Pi O's Unusual Work magazine.
FINOLA MOORHEAD , poet, novelist, playwright. Books include Quilt ('85); A Handwritten Modern Classic (Post-Neo, '87); Remember the Tarantella ('87, reissued by Spinifex in '011); Still Murder ('91); My Voice ('06). Fiction editor with A A Phillips on Meanjin Quarterly in the '70s, illustrious member of the Rushall Crescent Avant-Garde in the '70s/80s.