Fashion & Beauty

Ygdrasil, - Vol 3 No. 6 - June 1995 issue

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INTRODUCTION Owner's Boner...................................Gay Bost Strange Love....................................Gay Bost Retrospect on Emma..............................Gay Bost from The Breaking of Desire XVII................Klaus J.
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    ╔════════ June 1995 ═════════════════════════════ Volume 3, Number 6 ════════╗   ║ ║   ║ ║   ║ ║   ║ ║   ║ ║   ║ █▀█ █▀█ █▀▀▀▀▀▀█ █▀▀▀▀▀▀█ █▀▀▀▀▀▀█ █▀▀▀▀▀▀█ █▀▀▀▀▀█ █▀▀▀█ █▀█ ║   ║ █ █ █ █ █ █▀▀▀▀▀ ▀█ █▀█ █ █ █▀▀█ █ █ █▀▀█ █ █ █▀▀▀▀ ▀█ █▀ █ █ ║   ║ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ ║   ║ █ █ █ █ █ █ █ █ █ █ █ █ █   █ █ █ █ █ █ █ █ █ █ █ ║   ║ █ ▀▀▀ █ █ █ █▀▀█ █ █ █ █ █ ▀▀▀▀ █ █ ▀▀▀▀ █ █ ▀▀▀▀█ █ █ █ █ ║   ║ ▀▀▀▀█ █ █ █ ▀█ █ █ █ █ █ █ █▀█ █▀ █ █▀▀█ █ ▀▀▀▀█ █ █ █ █ █ ║   ║ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ ║   ║ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ ║   ║ █▀▀▀▀ █ █ ▀▀▀▀ █ █▀ ▀▀▀ █ █ █ █ ▀█ █ █ █ █ █▀▀▀▀ █ █▀ ▀█ █ ▀▀▀▀█ ║   ║ ▀▀▀▀▀▀▀ ▀▀▀▀▀▀▀▀ ▀▀▀▀▀▀▀▀ ▀▀▀ ▀▀▀▀ ▀▀▀ ▀▀▀ ▀▀▀▀▀▀▀ ▀▀▀▀▀ ▀▀▀▀▀▀▀   ║   ║ ║   ║ ║   ║ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ║   ║ ║   ║ ║   ║ ║   ║ ║   ║ ║   ║ ╓──┐ ─┬─ ╓──┐ ╥ ┬ ╥──┐ ╓─╖ ┬ ╓──┐ ╥─ ╓──┐ ╥──┐ ║   ║ ╟──┤ │ ║ │ ║ │ ╟─┬┘   ║ ║ │ ╟──┤ ║ ║ │ ╟─ ║   ║ ╨ ┴ ╙─┘ ╙──┘ ╙──┘ ╨ ┴─ ╨ ╙─┘ ╨ ┴ ╨──┘ ╙──┘ ╨ ║   ║ ║   ║ ╓─╥─┐ ╥ ┬ ╥──┐ ╥──┐ ╓──┐ ╥──┐ ╓─╥─┐ ─╥─ ╓──┐ ╓──┐ ╥──┐ ╓─╥─┐ ╓──┐ ║   ║ ║ ╟──┤ ╟─ ╟──┘ ║ │ ╟─ ║ ║ ║ ╟──┤ ╟─┬┘ ║ ╙──┐ ║   ║ ╨ ╨ ┴ ╨──┘ ╨ ╙──┘ ╨──┘ ╨ ─╨─ ╙──┘ ╨ ┴ ╨ ┴─ ╨ ╙──┘ ║   ║ ║   ║ ║   ║ ║   ║ ║   ║ ║   ║ Editor: Klaus J. Gerken ║   ║ Production Editor: Igal Koshevoy ║   ║ Associate Editors: Paul Lauda ║   ║ : Pedro Sena ║   ║ : Gay Bost ║   ║ European Editor: Milan Georges Djordjevitch ║   ║ Contributing Editors: Martin Zurla ║   ║ : Evan Light ║   ║ ║   ║ ║   ║ ║   ║ ║   ╚════════════════════════════════════════════════════════════════════════════╝         ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄   ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀   ╓─╥─╖ ╓─╖ ╥─╖ ╥ ╓── ╓─╖ ╓── ╓─╖ ╓─╖ ╓─╖ ╓─╥─╖ ╓── ╓─╖ ╓─╥─╖ ╓─╖   ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║   ║ ╟─╢ ╟─╢ ║ ╟─ ║ ║ ╟─ ║ ║ ║ ║ ║ ║ ╟─ ║ ║ ║ ╙─╖   ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║   ╨ ╜ ╙ ╨─╜ ╙── ╙── ╙─╜ ╨ ╙─╜ ╙─╜ ╨ ╙ ╨ ╙── ╨ ╙ ╨ ╙─╜   ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄   ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀  INTRODUCTION Owner's Boner...................................Gay Bost Strange Love....................................Gay Bost Retrospect on Emma..............................Gay Bost from The Breaking of Desire XVII................Klaus J. Gerken Mist........................................... Andy Odendhal Storm...........................................Terry A. Long Chapter IV: Awaking in the Rapture Field........Greg Shilling Understood......................................Jennifer Mulcahy The Night.......................................Jennifer Mulcahy SnowShine.......................................Jennifer Mulcahy Apprentice to Deception.........................Jennifer Mulcahy Necco Wafers....................................Jim Yagmin March...........................................Emily Dare The Swordmaker..................................Emily Dare Toast the Mariner!..............................Emily Dare All my precious days............................David Anthony Cariddi On a cold February morning-.....................Jennifer O'rourke Where is my red crayon?.........................Jennifer O'rourke THESE HILLS.....................................Igal Koshevoy A Drum For each God.............................Ron Tisdale Kingdoms Edge (selections) * Resurrection * Champagne and Coltrane * Cat * Wonton Recipe * Musicians: Glass Harpist and Fiddlers * Giza Lingia (swahili for Darkness Enters) * Ocarina POST SCRIPTUM Sandy, A Monologue...........................Martin Zurla    ▀█▀   █▀█ █ ▀▀█▀▀ █▀▀█ █▀▀█ ▀█▀▀█ █ █ █▀▀▀ ▀▀█▀▀ ▀█▀ █▀▀█ █▀█ █   █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █   █ █ █ █ █ █▀█▀ █ █ █ █ █ █ █ █ █ █ █ █ █ █   █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █ █   ▀▀▀   ▀   ▀▀▀   ▀   ▀   ▀▀   ▀▀▀▀   ▀▀▀▀▀   ▀▀▀▀   ▀▀▀▀   ▀   ▀▀▀   ▀▀▀▀   ▀   ▀▀▀   ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀  A dialogue between Klaus Gerken and Henry Leirvoll: Klaus Gerken: A teacher can only teach those who have a burning desire to learn. When you surpass the teacher, then the roles will be reversed. Henry Leirvoll: Yes, I can agree to that - but I also heard somewhere that you should not change a single word of your poem once it is written, because those were your srcinal thoughts at the time, and if you change that you change your thought. This man literally described it as "raping your mind". I don't know if I agree, but the principle has a "cling" to it.. KG: That's the old adage that the artist is somehow "supreme"; that whatever an artist touches becomes art; that being an artist is in itself art; that an artist changes perceptions just by being. Perhaps. But that can be said of any occupation; any title. When we are introduced to a person who bears the title of Doctor or General, right away, we change our attitude towards them, whether or not they have done anything to deserve the title. I think when someone says "there goes an artist", people have certain expectations: they say, "so that is what an artist looks like!". I used to feel that way towards my early poems. Never change them, even though I know how to improve them now. Should I violate the right of the poem to be as it was first written, even though imperfect? And it can feel like a violation. But I now routinely change those poems. I continuously revise. And it fascinates me how the poem changes through the years. It actually grows with me. I always come to the line that Bob Dylan wrote in "Like a Rolling Stone": "Once upon a time you looked so fine, Do the bumps and grinds, in your prime..." Of course everyone thought he wrote, "Once upon a time you looked so fine Threw the bums a dime..." When the first sheet music of this song came out in 66 it actually contained the phrase "bumps and grinds", but when I bought a copy of Dylan's collected songs I noticed he had changed it to "threw the bums a dime". That's a poems evolution. The artist isn't always right or inviolate. Sometimes the audience gets in on the act, and the artist just has to acknowledge the fact. Stand back and accept it all. Still, if Dylan hadn't written the song in the first place... HL: But .. When I write poetry I seldom think of which thoughts I want to express - I rather think about the lines all from the beginning. KG: That is fine. I write a lot like that myself. But what I am saying is to conform the words to the expression. To shape the poem around those thoughts. Thoughts don't always come as poetry; thoughts are oft times rambling and incoherent. What one has to get out of is the act of knowing what one says from an insiders view. I know what I mean, therefore others should also. That is where revisions come in. Many times I throw away   what I think is the best part of the poem. That is the hardest part a poet has to do. I often find that people like those poems I despise the most. It's much the same with my paintings, people admire those I think have nothing much to offer. I find that they wildly personal and experimental canvasses appeal to me the most. But that is only because I see something in them only I can see. Poetry is much the same. The poet reads between the lines, the reader doesn't. This is a great fault with poems such as Pound's Cantos, Zukofsky's A, Olson's Maximus, or Joyce's Finnigans Wake. These works inhabit the poet's own psyche. They are great because of their complexity and use of language, but to understand them takes a great amount of effort and many years to accomplish. But also remember, that these works are there only after the other more accessible works of these writers. Even Picasso at first painted "like Raphael" before he created his more personal vision. We must all do our apprenticeship before we can attempt such a personal vision. The poet may exist without an audience, but them poem ultimately can't. HL: I agree when I think that it would probably be better if I tried to express a feeling, or a story, or something I had in my mind. KG: Expression is not a poem. The poems has a form, and thereby the poet is required to revert to a craft. A poet must learn his craft also. If not to prove something to the world, but to himself. Can I call myself a poet if I do not know how to write a sonnet, pentameter, a perfect couplet? To me, the past is indispensable. Even punk and Heavy Metal had it's roots in Rock 'n Roll. And Rock 'n Roll had it's roots in other popular music of the 40's 30's and 20's, and even then you can actually trace the roots farther back through classical music. It may sound strange to say, but Gay's Beggar's Opera and The Who's Tommy are not very far apart. HL: That is so correct! This I have experienced to be a waste of time, since you can never be sure if the reader understands what you have written. KG: But that is where the craft or poetry comes in. You can make the reader understand. You can nudge the reader beyond what the reader wants to see. I am not speaking here of giving the reader what he or she wants. Nor am I speaking of any type of compromise. A poet should never compromise. But when a poet expresses something new, it should be to teach. If the contemporary reader cannot "get it", then perhaps someone in the future will. A poet should write because he has something to new say. A new vision. A poet is a visionary and a seer. A poet must also be a shaman. A bridge between what is perceived by the audience and what is perceived by the poet. A poet is like a man on top of a hill shouting what he sees other side to the people below. The poet, being privileged to see something others cannot, must be true to what he sees. A poet never creates fantastic tales. HL: This makes it a challenge, though, to write it so that people can understand it. KG: Precisely. HL: Yet, I also like to write metaphorically just to see how people react to it differently. To see how people interpret it differently. KG: And that is where a poem gains its strength. Always to suggest something more. Always to tantalize... HL: I don't think that the reader should always try to find out what the writer was thinking when he wrote it, but also to try and to find an interpretation for him/herself.
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