Why instead of begging my mom for extra allowance money so I could buy a record album
I should have declared vendetta on the Electric Light Orchestra.
by Matt Mason
I was in love with a girl.
And I can say this with absolute certainty,
as I was in eighth grade,
and eight graders know what love is
in ways that you all grow out of
with your big feet, bad skin, left at the pizza place and walking four miles so
you don’t have to call someone for a ride and explain,
your first kisses, shocking tongue in your mouth, cheeks turned floodplain “experience.”
I didn’t need experience.
I had Saturday afternoon movies on channel 6,
I had heart-in-fist dedications on Casey Kasem,
I had first-run Love Boat still on TV,
so fuck your coward jaded blissful first-hand knees-quaking “love,”
I was in love with a girl
and she wouldn’t call me back.
I had tried everything.
And by “everything,” I mean
every thing: I tried funny,
awkward,
self-deprecating,
I tried uncoordinated, I tried brainy,
I tried stories in class about Santa being hit by an airplane Night Before Christmas style (and
on the nose of the plane arose such a clatter, the pilot knew at once Saint Nick was a splatter)
I tried everything.
I was in love with a girl
and the months were winding that love so tight
it could slip and fly across the classroom and crack
against the blackboard,
I was in love with a girl
and finally at the point,
sitting on the lion-print sheets of my bed,
of admitting love
was not enough,
that love!
was not!
enough!
to bend this universe as it needed to be bent.
I was in love with a girl
and sighed
and turned on my radio
to WOW or Sweet 98 or whatever the hell it was
and they said “Here is a new song by ELO,”
and there’s Jeff Lynne telling me “Hold on tight to your dreams,”
even adding emphasis by rephrasing it in French: “Accroche-toi à ton rêve,”
and, damn, Universe,
you had me going,
I almost gave up on love,
on love!
In the hindsight of adulthood,
of thirty years unlearning what I learned that day,
of good dates, bad dates, eyelashes, bra straps,
yelling “What the fuck do you want from me!” loud enough to be heard four apartments down,
heart-shaped cards, roses and rings, fourteen small teddy bears (one for every month),
poetry that said way too much about the goddamn moon,
the disproportionate surprise of warm breath on the inner ear,
that the Electric Light Orchestra
maybe could have been a little more specific.
That “Accroches-toi à ton rêve,” I never did look that up,
it might only mean: “Don’t eat croutons;”
DJs are not waiting like archangels
to set the cosmos off their turntable wobble; they
tie up the request line talking to their girls,
making promises,
that sound too much
like pop songs,
they’re underpaid dudes
who put needles onto grooves
and let it
all
spin.
Matt Mason: “My favorite poem is one that, at first, makes me wonder if it’s a poem. I love a poem written because that’s what the poet wanted to write and they didn’t worry if it fit the mold or definition or what they were lectured a poem is supposed to be. Not that we shouldn’t study the traditions and forms and histories, but poems like that shine for me: they have surprise, coming in disguises instead of the formal suit or gown we all thought they were supposed to wear back when they were set in front of us in high school. These are the poems that, had they been set in front of me in high school, would have gotten me on fire for poetry years earlier.”
Some souls are simply too sensitive to live in such a harsh world. She was one.
Ohio Dove
She lay at our feet with a metal arrow
through her chest, the arrow angled in
the ground not far from the lilac
nest where she’d been sitting.
Because he owned the bow, or that
he went by his last name,
or that his peach fuzz had darkened,
Cunningham said he was taking my turn.
He could not wait to show me
how it’s done, the killing.
If only quick, like turning off a lamp.
The dove lay gasping in the too sudden
present tense. Cunningham pressed
his shoe down hard,
then took the arrow out from her. Because
I’d not had my heart broken this close up
before, I held the bird extra, said good aim
then placed her back in the lilac bush
so no one could see. I heard my mother’s
dinner bell in the distance wringing
the dry air in my throat. I walked home and ate all
her steamed kale, because it was good for me.
—from Rattle #79, Spring 2023
Mark Rubin: “I write because it’s a way of rendering the heartaches that come from being alive. As a certified curmudgeon, I have an edgy, ongoing sense of wonder, if not reverence, for small things in the natural world, and big things that move through me as a result. I am most happy when I can get out of my own way.”
When? Saturday, June 17 at 7:30 pm
Where? the WACC, 475 Whitevale Rd
Why is it different?
Tricia McCallum, our resident poet, will not only share some of her poems, but she is inviting you to share a poem that has a special meaning for you.
Before this June rendez-vous, you have the opportunity to think ahead about which poem you will choose … It may be the poem that first springs to mind whenever you hear the word poetry, or a poem that comforts you each and every time you reflect on it.
Tricia plans to share a variety of her poems. And as anyone who reads Tricia’s work knows, she shares with us regularly online, what she writes about is … everything.
If you wish to participate in this poetry sharing event, email her at writer@triciamccallum.com
Why did I not grab every moment
and make it sing,
look into people’s faces and find stories there
to take me into my old age.
We don’t take the time,
Do we?
Blithely we pass unexplored roads,
agonizing instead
about the trappings of our lives,
the matched sets of things.
(For Keeps – excerpt)
I share here a remembrance of Gordon Lightfoot, written after seeing him perform back in 2012 on a rain-soaked evening in Toronto’s Massey Hall. I never sought to have it published. I somehow knew it should wait until now.
Textbook weather for Gordon’s concert this evening: rain-slicked streets, brisk winds, classic moody November evening in downtown Toronto. His band was minimalist, as is his wont. To wit, lead guitar, bass, drummer, keyboards, and himself. None of them under 60. I’d seen a couple of them on stage with him many times before.
Gord struts out with his characteristic long stride, guitar at his hip– on the stroke of eight bells, of course — to thunderous applause, seeming still a little shy and embarrassed by it all, amazingly. (He even joked about the night before how, because of the city’s subway breakdown he’d had to start eight minutes later. Eight whole minutes. Oh the horror, he said. And we all knew he was only half kidding.
Opened with Did She Mention My Name? Closed with Blackberry Wine. In between, everything from If You Could Read My Mind to A Painter Passing Through.
The crowd was quiet (save for the one requisite (by then) shout of “We love you, Gord!” very attentive (dare I say, Canadian?), reflective, appreciative, almost conspiratorial, you know that feeling Gord (and Gord alone) inspires in hometown crowds? It was so obvious everyone there was delighted to see him back onstage for another go.
Yes, he is frail, ravaged, bone thin, and easily looks his age (71). Actually, he looks like any of a dozen down on their luck guys who used to hang around (seemingly in rotation) outside one of the hotels in the small town where I lived as a child. His voice wavers and falters from time to time and he whispers when he should shout, but no matter. His spirit is fully intact. His delivery is so evocative, so exquisite, he reminds you with each outing that he is the one who wrote the stuff – that no one gets it like he does — and no one, of any age or stage, will ever do it better. Michael Buble, take a seat. And hush.
We did hear at least a few pins drop at Massey Hall that night, especially during Song for a Winter’s Night. (He rarely does that tune and it was utterly bewitching.) His rendition of Step Back (one of my top five of his) was rollicking, everyone up and rocking, what a great tune that is to move to, and then he headed into Early Morning Rain. Wistful, evocative, iconic, all.
Let it go/Let it happen like it happened once before… from the song Shadows. Another captivating rendition. This one in particular brought to mind Dylan’s comment about Lightfoot: “Whenever I hear a Gordon Lightfoot song, I hope it never ends.”
His banter with the crowd was so relaxed, so unscripted, he charmed the boots off all of us. He riffed randomly, about writing songs on airplanes, the perfect place for it, he says, with the juxtaposition of stars above, cities below… getting his “shoulders lowered” as a boy at the town barber shop in Orillia, and his joy at being “home” and playing for us again.
A gentleman, pure and simple. And a poet non pareil. By the end, he even makes you believe his lustrous words: “Everything will be fine by and by.”
A legendary story about Lightfoot resulted from a concert he did long ago in his hometown of Orillia. A young man in the audience was hit by a flying bottle and had all of his front teeth knocked out. Lightfoot heard about it and went to visit the young boy, on his own, no fanfare. Before he left he gave him a check to cover all his medical expense.
The fire is dying now, my lamp is growing dim
The shades of night are liftin’
The morning light steals across my windowpane
Where webs of snow are driftin’
If I could only have you near
To breathe a sigh or two
I would be happy just to hold the hands I love
Upon this winter night with you.
Lightfoot didn’t care for interviews. Apparently, he was rather shy. But no matter. His songs tell us everything we need to know.
Listen to The Affair on Eight Avenue, for me always his most exquisite song. https://youtu.be/KTu_Uu0TgTQ
I will miss you, Gord. We all will.
The sky. And the sky above that.
The exchange of unmentionables between mouths.
Other people’s shame.
My friend says we never write about anything we can ever figure out.
For him, it always involves sadness.
For me, it’s a language I haven’t quite found the language for yet.
The astonishing smell of a baby’s head. Morning coffee perfectly doctored.
Clothes fresh from the line. Mark Knopfler’s ballads.
The sound of someone leaving who doesn’t want to be heard.
Other voices in other rooms.
The day I decided getting out of bed was a greater effort than I could summon.
The high school dance at St. Joe’s where I stood all night against the wall pretending it didn’t matter. The time in Grade Six when Sister Benedict asked us what we wanted to be and I said poet
and they all laughed. Poetry lurks in the lines between things most important and least said.
A way to bear witness that we were here.
How I might have found a way to conjure words no one else had,
if I’d only found them.
I am from my mother’s bed in a Glasgow tenement and walls
thick with coal dust.
I am from Saturday confession and identical Catholic school uniforms
and unflinching patriarchy.
I am from melancholy to the marrow of my bones.
I am from not up to it but showing up anyway.
I am from faking it so very well no one ever knows.
I am from a lifetime of hard-won lessons of when to shut up and
when to kick doors down.
I am from finessing the difference
I am from reading the room the way all women must.
I am from puffers and steroids and Prozac and poetry.
I am from squamous cells and ovarian tumors.
I am from kicked to the curb and too tired to care.
I am from returning home scared to death.
I am from swallowing bile.
I am from too many calm downs and too few stand ups.
I am from too smart for my own good.
I am from you’ll never get a man that way.
I am from childlessness.
I am from bartending and short order cooking and cold calling and
traveling the world alone.
I am from 36,000 feet up serving cocktails in turbulence and
high heels and tight skirts and never spilling a drop.
I am from 30 feet down in dank basement apartments,
I am from a Glasgow tenement.
I am from losing what mattered most.
I am from survivors.
I am from optimists.
I am from unbridled love.
I am from a place called I’m still here.
We are left adrift it seems.
Dr Laura is too busy plugging window blinds to be taken seriously.
And these days Dr. Phil appears a mere dead eyed huckster
for his wife’s line of miraculous subterranean botanicals.
Archbishops are led away in handcuffs
while princes in island mansions prey upon the under-aged.
In search of wisdom we seek out the ancients,
the tried and true,
yet again resurrecting their voices that remain intact,
unsullied by dictates of time
and commerce.
Can their savvy translate to the now?
Would Plato mask? Sappho march for choice?
I somehow cannot picture Marcus Aurelius open carrying.
We tease out the answers as best we can.
Learn yet again that wisdom cannot be hijacked off a page
but comes deep within the bone
over canyons of time
and to precious few.
Always be a poet. Even in prose.
— Charles Baudelaire.
In essence I am a storyteller who writes poems. Put simply, I write the poems I want to read.[…]
A sequence of my poems has been published in a hardcover book entitled The Music of Leaving Poems by Tricia McCallum
More info…
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Thanks for sharing