My best piece of artwork of all time!

It was for my Grandma. See? Its on her fridge.

Six Significant Landscapes

I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.

II
The night is of the colour
Of a woman's arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.

III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.

IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.

V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.

VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses --
As, for example, the ellipse of the half-moon --
Rationalists would wear sombreros.

Wallace Stevens

This is what drawing class is like, except no interesting singers with static attacked mullets.

Especially (!) when you're drawing a M. C. Escher drawing.

Fun with small children

Tonight my brother and I are keeping our niece, Arianna, 6, and nephew, Ricky, 4. In the car, I asked them what their favorite animals were.
Arianna said, "My favorite animal is baby cubs!"
And then Ricky said, "I eat those."
This, of course, shocked me. I thought that was illegal or something. So I asked, "Ricky, what are baby cubs?"
"They're like sippy cups."

Then later when we pulled into the driveway, our white cat Puffy jumped up on the jeep. Ricky started talking about the time that the cat bit Arianna. Then Arianna started talking about it too. Suddenly Ricky yelled out, "Puff is just a mozzarella stick!"

Now he and I are sitting at the table, I'm trying to get him to eat his final bites. He's wrestling with his napkin I tucked into his shirt. "Its giving me a wedgie! Napkins always give me wedgies."

Mercy. What will he say next?

Oh wait. Here's what he said next: "Remember that time Gabe played that annoying song on the guitar?"

Bob

Its National Novel Writing Month

so what are you waiting for? Go write one.

Poetry Explication: " 'At A Bach Concert': A Proud Restraining Purity"

Coming by evening through the wintry city
We said that art is out of love with life.
Here we approach a love that is not pity.

This antique discipline, tenderly severe,
Renews belief in love yet masters feeling,
Asking of us a grace in what we bear.

Form is the ultimate gift that love can offer -
The vital union of necessity
With all that we desire, all that we suffer.

A too-compassionate art is half an art.
Only such proud restraining purity
Restores the else-betrayed, too-human heart.

Adrienne Rich’s “At a Bach Concert” is a poem that successfully illustrates the necessary links between the themes of form, art, and love. Rich presents the reader with a speaker who celebrates the discovery that art not only gives order to life, but also that order gives meaningful life to art. The poem is concerned mostly with form’s effect on art. She calls form “a love that is not pity” (line 2). The speaker claims that form does not restrain, but gives way to an art that is pure and proud, not pathetic. It is the “ultimate gift that love can offer” (7).
Rich uses form in the structure of this poem to show how vital form is to a piece of art. In the title alone she alludes to Johann Sebastian Bach, an early eighteenth-century composer and musician. He was acclaimed for incorporating a depth of intellect and beauty into a technically challenging format.
By titling the piece “At A Bach Concert,” Rich not only gives readers a physical setting, but also invokes all of the restraints that Bach put on his own works and sets up a running implied comparison between music and poetry. Bach started with a certain meter, or time, and then filled in his measures with the most beautiful things that he could fit within them. While he was strict in implementing musical theory, Bach also manipulated rhythms and sounds within the rules he

so closely observed. Rich is referring to Bach’s music as “this antique discipline, tenderly severe” (4). Bach’s music requires discipline, but the reward is in how the musician is then able to control an expressive force. Music of this kind is beautifully strict. Today, his music remains some of the hardest structurally to play, but it is also among the most unified and beautiful.
Rich relates Bach’s use of creativity within structure to poetry by putting in into practice. Like Bach, she chose to adhere to a strict form: four stanzas of iambic pentameter, with the first and last lines of each stanza rhyming. Within her chosen form, the poet manipulates words and sounds, and occasionally adds a musical, flourish-like extra syllable to the end of a line, all to compose a meaningful piece that beautifully communicates a love of form in art.
The speaker not only celebrates restrained art, but also conveys her disinterest in art that enforces no restraint when she states, “A too-compassionate art is half an art” (10). When art is conceived only of human feeling and emotion, the outcome cannot always be trusted to communicate effectively.
The same is also claimed of love without restraint. Without this “proud restraining purity,” or love controlled by form, the too-human heart cannot be restored to a place conducive to creativity and life (11). By using form to guide emotion, art “renews belief in love, yet masters feeling” (5). Art that is guided will not be overcome by feelings and can then speak as a piece of art not too compassionate.


“Love” as a piece of vocabulary is used in two ways. The first is the literal meaning. Love is an emotional attachment between two people. Taking this meaning, the poem warns against love without any sort of restraint in the same way it warns against using an artistic mode without restraint. In the second meaning in this poem, love is a form of art, or expression, that has married feeling and emotion with rationality and order. It is “the vital union of necessity with all that we desire” (8-9). Emotion and reason were meant to be used together in human relationships with each other, but in art, the emotion and reason become the medium of communication.
The poem progresses from “approaching” love in the first stanza, to finding a way to restore the human heart, and art, to its right order through form in the last stanza. The rhythm of the poetry keeps one reading straight through it to the end, like listening to a piece of music being played. It does not repeat, but carries on. If it revisits a theme, it is a variation, and is included to emphasize the main theme. This may be to further the implied comparison between poetry and music.
In “At A Bach Concert,” Adrienne Rich has used her medium, like Bach, to create a celebration of the marriage of necessity and desire, of emotion and reason. Her tone is one of hope. Though it may be said that “art is out of love with life,” (2) the speaker in the poem continues on to explain where to look for art that is still in love with life, and it can be found where there is form.
Meiska Starner