On a video call with Ginger last night, she gave me a tour of her shop, which at first con sisted of a few Christmas lights, dimly lit in red,
white and blue. I had called to speak with Mom, who had once again had a couple of nights recently spent in the hospital for
some reason (this happens, the reasons have been numerous). Mom was there at Ginger’s house a few miles from rural Charleston, in
Arkansas, where we all resided from when we each were born until we left the home of our parents. Mom was sitting in my sister’s living
room when I initially attempted to call, and I could see her eating her supper, which consisted of some combination of chicken and potatoes, followed
by dessert, which Ginger kept stressing was baked with a bit of a mistake, because rather than
with cherries, which this cake’s original recipe
apparently called for, it had been baked
(erroneously), well, backing up a bit, Ginger
said it would have “made more sense” to be
baked with the cherries, this dessert, but the red fruity splotches that were in the heart of this odd-looking cake-like dish were not cherries,
again, as Ginger kept noting were wrong, but and this should have been obvious (wink wink!)--
rather than cherries, but some wiseguy-like
character, had instead put in strawberries (big laugh!).
Somone had mischeivously and wrongly but yet slightly
naughtily, but in a good sort of way, put in the wrong
fruit. The winks and laughter were implied by the all the faces Ginger made as she kept repeating the story
of the baker that had gotten the bright idea to put in strawberries (also some Cool Whip, and, for good measure, sprinkles of slightly browned coconut).
Oh, and Ginger’s shop turned out to be much bigger
than a few dimly lit red, white and blue patriotic
bulbs slung somehow slightly into the woods
next to which Ginger lives. There was a huge warehouse filled with exotic-looking vacationing automobiles and RVs, wherein
there had also been some recent time put into adding a facsimile of a second floor with one room. And there was a warehouse-sized
open space that had a concrete floor with a roof over it (no walls), a roof which I imagined as cover to a large open shed rather than a shop, within and
outside of which there were potted plants with nestling cats (one was named Betty and Betty was quite a tiny cat) and there were otherwise
fountain-shaped sculptures of live plants scattered about as if to mimic flowing fountains from which spring splashes of leaves and blooms
belonging to the various plants within the “sculpture.” These plants resided within the open-aired shed and were not actually spouting waters cascading
from elaborate sculpted pipes or spewing from the lips of, say, metallic fish of various sizes, around some sort of fountain periphery. Those
qualities would have made it an actual fountain, and there yet may have been one of those somewhere around or within what Ginger calls her shop, which is
actually a rather elaborate set of spaces, slanted and flat, walled in and open, some wooded, others more domecile in nature, all of which apparently make up Ginger’s shop.
Rowdy Clowns with Hearts Painted upon Their Cheeks
Come to the Club, come in to the Club of Love —Madonna, ”Love Without Words”
Or that’s how I heard it come out when I accidentally—or inadvertently—found my way catching the entire brand new album, the first one she has released in six or seven years, I believe, and a sequel to one of her most popular albums ever. So, before I even know it, I’ve listened to the whole of today’s newly released Confessions II. And like the lyrics of the
3rd, 4th and 5th best songs on either of her albums, I find myself at times laughing at her silly lyrics. But also, all the while, and especially with this album,
I am one hundred percent on board, in this case caught up in each subtly
complex, hippie ditty, even and especially the silly, particularly Madonna-esque
turns of some of the dumbest-sounding lyrics. One after the other, all of the
songs pop up on my YouTube screen, each song playing in its entirety, as I just listen,
in awe of how the album is so smartly and tightly and thematically put together,
how poignant her lyrics are, how crisp and deceptively-layered each tune is.
Several songs have sparkling resonance with individual singles from this album’s
prequel, Confessions on a Dancefloor. Much as I do love her and her music
and how she’s steadily flown through the zeitgeist ever since I was a teen,
there are some very integral qualities of a typical dance-popstress that she
doesn’t have. And yet, her albums are most often brilliant successes.
I am not here to explain this mystery, just to point it out. It can be debated
whether or not she can sing well. Her lyrices often verge toward ridiculous.
Her albums rarely seem to stay on a central theme. Within each compliation,
simplicity appears to to trump complexity. Much of her songs have a comfortable
redundancy, almost to the point of becoming trite or cliche. So while with all of
these characteristics, I will easily confess that I am a life-ling fan, I keep coming
back to thinking that this album confoundingly sounds...too good?...to be a
Madonna album. But it is (too good AND a Madonna album)! Somewhere in
here, there has to have been an inside joke which has some clique rolling their
eyes in disgust at the ignorance of the masses. Yet as I listen to each song, then
begin to re-listen, it seems this lovely collage of dancefloor pop is no joke. It is,
rather, an earnest masterpiece. A masterpiece? From Madonna, who has already
given us so much. How could we possibly deserve a Madonna masterpiece.
It is not something I ever thought might come, though some do no doubt argue
that several from her decades in the business have been. While she might have
at times simultaneously been the butt-end of a few jokes, no doubt could
reasonably be given that she has had amazingly illustrious career. That has now
been elevated. Again, with six or maybe even seven years since she has released
an album. And no one’s musical output is more representative of each
dancefloor’s diary over the past nearly 50 years; of my lifetime. Her music has
dominated, with iconic hit after hit filling the radio airwaves, television and
internet, music videos, awards ceremonies, the cinema, and always bouncing
from the walls of dancehouses the world over, ever since I found inside of them.
Her controversies, and her causes, were discussed in abundance in cubicles,
classrooms, news venues, everywhere. She’d masterfully ride the fence that
separates being loved from being hated, often having a hand in creating whatever
was trending at any particular moment, simultaneously thrilling fans and stirring
venom among pundits, emerging with regularity just to turn something upside
down or inside out, instantaneously repopularizing her own self, paving the way
for new scrutiny for each hot potato, all while building out of seemingly nowhere
awareness and devotion to urgent causes, bringing assistance to folks on the
fringes, something for a world which was craving something risque and
humanitarian, etc., at the center of moments that would forever and almost
overnight change how a general populace would thenceforward view a particular
subject. Today is a day in pop history that will surely be another such pivot.
And to make things even more riveting (at least to me) it seems that everyone
in the industry has come out to impress, as if simply in celebration of her
or to ride her coattails, rallying around the debut of her new phase. Madonna.
She once again has caught us off-guard. How nostalgic. Once again the
grandmother of pop is holding on to the zeitgeist as if it were the reigns to an
elaborate stagecoach. And I am happy about it. Happy for us. For wherever
it will us. And surely she will gain innumerable new fans in the process. I am
indeed so happy for her. And, in her honor, look forward to inhabiting a
It is easy to be beautiful; it is difficult to appear so. I admire you, beloved, for the trap you’ve set. It’s like a final chapter no one reads because the plot is over. —Frank O’Hara (from “MEDITATIONS ON AN EMERGENCY”)
That is how I just typed it up, anyway. Given my current vision and need
for a new pair of glasses, it could be a bit off. Which is, of course, saying
something, but, these days, is really saying something. And that’s not a good
thing to say (as in No way! I like being able to see!). Neverteless, this is the
nitty-gritty of what I want to focus on here today.
So, as I say, to my eyes, that’s the way it reads in my Donald Allen edited O’Hara
Selected.
And let me also say that I am taking this stanza, this paragraph, completely as
if it were a (and couldn’t it easily be?) standalone. As something profound
unto itself.
But BEAUTY? Pah! Trying to envision these words without attempting to look
through the eyes of this particular poet is something, but it is not easy, it starts
out to be quite a feat. Especially because they would MEAN something so
very different than if the words had come from me (and surely different from
what you might come to, I suppose, if one supposes such things). His, I
assume, might havebeen some kind of almost universal IDEAL, but based in
reality, upon those he knew. An attainable one ideal? He no doubt had one or
two candidates ind mind with whom he was well acquainted. Idealist that he
was, it would have been a cinch for him to have conjured up one of his muses.
I’m no scholar. I have simply had some big, awkward movements in that arena.
Which, without picking up anything except, again, this particular Selected,
has me thinking O’Hara had in mind as representative of beautiful that
New York School muse that we would often find him dipping his metaphorical
ink into, Jane Freilicher, perhaps. Or it could be any number of such muses.
But Jane, The New York School muse.
Except...O'Hara was gay, I might point out (as I do, and surely others have made
a note of this as well with regard to his idea or ideal of beauty. Or have they?
This is how much I am NOT a scholar. I’ve made it loud and clear so often
over the years, that he’s my favorite poet out of all of them, yes, the audacity,
and I stand by it) – oh, if I could even be a smidge as dishy and pithy and have
even a tenth of whatever must have generally floated around behind that tall
young forehead.
So, beauty; back when it meant something. Perhaps towards the tail-end of
when it might have, just to add that, as if it were something that we knew.
But those three sentences. That singular paragraph (I love to imagine that
final word, over, as it stands by itself on its own line, as intentional
enjambment; form might have been something that was beginning to also
lose meaning, by this time, which I say as if it means something, but as far
as I can tell, scholar that I ain’t, it still was a veritable ruler, a stick that
might be, ahem, shoved up something, and surely often and (even today)
sometimes happily. Someplace. It seems so ... and would he not have
appreciated the word that just came to my mind ... ineffectual?
But a philosophical bent seems clear to me, in that he wore his ideals upon
his sleeves, if you ask me, but why would you? AND he was gay, so any
concept of beauty he goes on to reduce in whatever way gets fractured
in so many of the ways and means of BEAUTY, at least to this small reader,
when it comes to how to interpret what the writer literally meant when HE
wrote the word.
But the simplicity of how those three sentences can, for me, indeed, conjure,
perhaps in pieces and parts deliberately Doctor Frank’ened (har har!) hap
hazardly together, building someone in particular I’ve never met, or just as
easily suggesting a particular half a dozen or more with whom I am at least
acquainted. How EASY that lovely paragraph can mean. And if that is what
happens when I read it, it would likely be just as magical to anyone else
who does. Try, it. You can, you know. Let me know if it works.
If so, just look how many of us are getting presently all bent out of shape,
getting giddy within our own recollections or collections. Our own selections
conjured from just a few lines in this particular selected poems, by my favorite
poet all time (I have no problem repeating for the record that much). It is a
quote that appears in one of my favorites poems by him, “MEDITATIONS ON
AN EMERGENCY.”
I mean, (Call 9-1-1!), who else but the man who not only put New York City
on the postmodern map, but turned it into an ideal—a place in which I’ve
never lived, have but taken up space within for no longer than a week or
two at a time. Such a beauty. (“Aw, shucks! Really?”)
But yet from the distance of all of the vast expanses from him and his words to
here, he can yet today have an unscholarly hick sitting in San Francisco
seeing BEAUTIFUL, seeing BEAUTY, as if I truly know what they are; and it
appears before me as if in Cinemascope. Loud and clear. And that’s sincere.
The chief scientist on board was convinced that it would be a worth while experiment. At times he would think that, aside from
those that come with a risk of exp iration, most any experiment is a worthwhile one. But, sun of a gun, this particular experiment came with
an extinction risk of which he remained until the soggy end unawares. Baloney, as it turns out, blows. Not only in the exploding sense, but in the toxic sense,
in the Biblical sense, and even in that risk of migrating plastics eventually residing within the testicles sense, whether it’s ingested, blown onto, or,
as was the case for those on the ship’s deck, ever so gently blown up. Fortun
ately, for the sake of neighbors and
other lucky landlocked acquaintances
of the family members left on the home front, the chief at least had the sense to perform the experiment asea. He thought his senses were steady, but
clearly he had begun experiencing signs of brain-rot, perhaps brought about by some of his earlier baloney experiments. Most curious about this
latest experiment was what happened
to the men who worked belowdecks. There was a serious misunderstanding of some sort, or else the chief’s dementia
had been virulently contagious. For each of the coal shovelers and the rest of the generic belowdecks seamen, before the baloney blow-up, were
cradling infant-sized baloney loaves, rocking them back and forth, with a
few kisse being blown at the tips of each of the baloney babies’ imaginary
noses. Some of the men who blew too close found those noses quite tasty, but refused to season them, choosing instead to make baby noises. Before the ship
sunk, each had laid down their baby- lengthed, unsliced body of baloney and had pinned a diaper around the loaf’s meaty middle, or wherever each man
decided it was where its diaper should be pinned. The assistant to the head of
the blown up baloney incident had been going around and taking notes, asking
each man cradling his baby-length baloney belowdecks the sex of his child, despite it being literally comprised of a few pounds
of cheap, non-sentient, unalive, soon-to-sink-
to-the-bottom-of-the-sea meats from various
portions of various animals. As the ship swooped about making its way to ward the ocean’s bottom, the men
seemed rather astounded that their babies seemed unaffected by the car eening and the onslaught of incoming sea-water. Until each man drowned,
he was cradling his baby made of baloney as gently as if it had been his firstborn son or daughter. When word made it to the CEO of Science,
the Baloney chief scientist’s boss, that the experiment had been the catalyst of such a horrendous event, he wrote a brief
suicide note and jumped to his death
from his office window. Ironically, for lunch
that day, he had eaten the most delicious
fried baloney sandwich that his wife had sent with him to work as he left that morning.
If I told you where I heard this phrase for the very first time, just two days ago, it might say a bit too much about why I’d until then never heard it. It doesn’t matter
where I heard it. Maybe, at least for the purpose of my current meanderings, it doesn’t even matter what it actually means. It caused a bit of a pang in the vicinity of my heart when
I heard it articulated, as well as, I’m sure, a not-so-subtle eyeroll that was surely noticed by some of the folks around the table at which I was sitting. All I could think at that moment
was, What a tediously cynical world in which, in order not to be deleterious to those around us, we are now each expected to be pessimists!
I couldn’t understand what he was getting at. Was he mentally displaced, or an alien from outer space, or an app arition that only I could see? And what
was I hearing him say? Loin voids? That sounded suggestive in an asexual sort of way. So of course I was intrigued and looked around to see if I was the only
one catching this. It wasn’t a busy time of day, there were a few tourists, since it was a time when most locals would be working in offices in the Financial
District, where we had our encounter. And then I noticed that I had been paying so much attention to this, whatever he or they or it was, I mean,
one doesn’t go around dressed in a polka-dotted suit, with the dots being seemingly every color on the palette— dotted upon white—and NOT get noticed. I
looked down, I wasn’t dressed for work or
anything, I was on one of my elongated non-
working periods, you know, the ones that got
me here typing this story up to you with such
faux urgency? I was wearing sneakers, the most expensive pair of shoes I’d ever worn, to the best of my knowledge, picked them up the weekend previous at
some swank new hipster haven, it was on Fillmore, as I recall? So, expensive sneaks. “Loin voids!” I felt like I was doing research, but then, as I said, I
looked down, somewhere in the direction of my own voided loins, but what my eyes landed on cranked up within me a sort of exasperation, and anger, and who was the
first...thing...upon which I’d take out this
anger? My new friend of hollowed out sex.
I’d just decided he wasn’t a figment of my imagination but rather one of those Frisco
freaks who walk around at all hours relaying to whomever will listen about something terribly bad was about to happen. And soon. An alien
invasion. The next best earthquake. That Jesus
was here and would soon be floating home with
his flock, and he’d be grinning and winking at
all of those of us who were left behind. Some such tale of twisted baloney. And they were
the only ones here to give us a fair warning.
As I said, while looking down, I glossed over my
sexless middle section and noticed that my precious
new sneakers had sunk into wet concrete, up
to well above the iconography on the canvas
or hide to the level with the laced portion of
my shoelaces. I let out a very feminine
yelp, or it could have been a full-fledged
girlie scream, trying to articulate the pain I was feeling with words that would have meant My Brand New Fucking Shoes!, but me being me it came out more like I, Mandy,
Stuck in Poo! And this of course was directed at the San Francisco freak because I was already blaming him for my somehow not knowing I had passed a “Sidewalk not in
use” sign, as well as a, “Please cross here,” as in to the other side of the small Financial District alleyway the two of us were traversing, or had been only moments before my shoes
got stuck in hardening concrete. And after I yelled whatever indecipherable nonsense I had yelled at mister voided loins he patiently gave me a look of dismay as if I had excusable
personal issues or something and said again what he had already repeated maybe three times at this point: “Hey mister! I said maybe you should pay attention, learn words, can’t
you read? That sidewalk’s been closed all week. He was gone before I could apologize. Or before I had the wherewithal to do so. And I stood there long enough that I had to slip
my feet out of my new sneakers and walk home sock-footed, all the way up the hill, had blisters for weeks, all the while thinking about what a Loin Void might be, if it would
have been something said, if those had actually been the words directed by me by the Frisco Freak who tried to save me and my sneakers from the fresh concrete from across an alley,
as I failed to focus on what he was saying in actuality when we crossed paths. I kept imagining that he’d always said what I thought for sure I heard him say, that weird little pair
of words (he had to be from New York City, surely) that kept me from paying attention to where I was going and upon what my new shoes had stepped upon and into. Which is the story of my
life in a nutshell, I suppose. Always too engaged with my surroundings to pay attention to myself. Always blaming others for my stupid booboos. It’s an expensive and an embarrassing problem, to say
the least, and one I’m sure I’ll take to my grave. I’m
no comedian, but it just goes to show that sometimes
nailing the punch line is a bitch, am I right? But hell, how
would I ever know, having never been much of a comic?