sounds of Jamaica
Koffee (2000-), “Haffi Make It,” “Under Pressure,” live, Germany (Cologne), 7/5/19
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at evening tide
clinging to the flotsam . . .
a katydid—Kobayashi Issa (1763-1827), translated from Japanese by David G. Lanoue
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random sights
other day, Chicago
sounds of the 14th century
Guillaume de Machaut (c. 1300-1377), Messe de Notre Dame (begins at 6:15; preceded by Introit [polyphonic chant]); Ensemble Gilles Binchois, live, France (Le Thoronet Abbey, Provence), published 2011
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Identity is made
of select experiences.***
If you are genuinely sick,
the leaves recedeand the flickering holes between them
come forward—not angels, but
unnamed objects—Rae Armantrout (1947-), from “Vultures” (Poetry, 10/19)
sounds of New York
Jaimie Branch’s Fly or Die (JB, trumpet, compositions; Lester St. Louis, cello; Anton Hatwich, bass; Chad Taylor, drums), live, New York, 2018
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lagniappe
random sights
other day, Oak Park, Ill.
sounds of Ukraine
day four
How about something quiet, delicate, beautiful?
Valentin Silvestrov (1937-), Post-scriptum (1990); Movses Pogossian (violin), Alexei Lubimov (piano), live, Los Angeles, 2016
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Floating on a Marsh
by Wang Wei (701-61), translated from Chinese by David Young
Autumn
the sky huge and clear
the marsh miles from farms and houses
overjoyed by the cranes
standing around the sandbars
the mountains above the clouds in the distance
this water
utterly still
in the dusk
the white moon overhead
I let my boat drift free tonight
I can’t go home.
back to church
Pastor Marlon Lock, “Heavenly Choir,” live (grandfather’s homegoing celebration)
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[H]ope has nothing to do with mood or objective facts, but is rather a form of hospitality offered by those who are tired to those who are exhausted.
—Teju Cole (1975-), website for Go Down Moses (photography exhibit curated by Cole and on display through September 29th at the Museum of Contemporary Photography, Chicago)
sounds of New York
day four
Nicolas Jaar (1990-, DJ), live, New York, 2013
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What is the language using us for?
—W. S. Graham (1918-1986), from the poem so titled
sounds of New York
day one
Jason Kao Hwang Human Rites Trio (JKH, compositions, violin, viola; Ken Filiano, bass; Andrew Drury, drums), live, New York, 7/16/19
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Today is very nothing like / Any other day that once soared / In this place.
—W.S. Graham (1918-1986), from “The Don Brown Route”
This song was released in 2011; the words were written in 1861.
David Sylvian (1958-), “I Should Not Dare” (Emily Dickinson [1830-1886]),* 2011 (Died in the Wool)
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I look at my father and mother and Vinnie, and all my friends, and I say no – no, can’t leave them, what if they die when I’m gone.
—Emily Dickinson, letter to friend Jane Humphrey (L86), 1852
*****
*Poem 234 (Franklin):
I should not dare to leave my friend,
Because – because if he should die
While I was gone – and I – too late –
Should reach the Heart that wanted me –
If I should disappoint the eyes
That hunted – hunted so – to see –
And could not bear to shut until
They “noticed” me – they noticed me –
If I should stab the patient faith
So sure I’d come – so sure I’d come –
It listening – listening – went to sleep –
Telling my tardy name –
My Heart would wish it broke before –
Since breaking then – since breaking then –
Were useless as next morning’s sun –
Where midnight frosts – had lain!
It was, I recall, a cloudless morning in Chicago, as it was in New York. I had a hearing scheduled in federal court, but then, after the second plane hit, court was cancelled. We sat in front of the television, unable to turn away.
William Basinski (1958-), “Disintegration Loop 1.1,” 2001
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Photograph from September 11
by Wislawa Szymborska (1923-2012, MCOTD Hall of Fame), translated from Polish by Clare Cavanagh and Stanislaw Baranczak
They jumped from the burning floors—
one, two, a few more,
higher, lower.
The photograph halted them in life,
and now keeps them
above the earth toward the earth.
Each is still complete,
with a particular face
and blood well hidden.
There’s enough time
for hair to come loose,
for keys and coins
to fall from pockets.
They’re still within the air’s reach,
within the compass of places
that have just opened.
I can do only two things for them—
describe this flight
and not add a last line.
more
Jürg Frey (1953-), Extended Circular Music No. 4 (2011-2014); Flex Ensemble (Kana Sugimura, violin; Anna Szulc-Kapala, viola; Martha Bijlsma, cello; Endri Nini, piano) with Yoann Trellu (video art), live, Germany (Hannover aka Hanover), 2017
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Moon, plum blossoms,
this, that,
and the day goes.—Kobayashi Issa (1763-1827), translated from Japanese by Robert Hass
