An Ongoing Conversation on Poetry

An Ongoing Conversation on Poetry
Oxford Union Library, Oxford University

Sunday, January 31, 2010

"I NEVER saw a moor,"




A poet I met at Peter Murphy's Writers Getaway in Cape May once said to me that there is no such thing as "writer's block." When I asked him what it was that sometimes makes us stare at the same blank piece of paper (or computer screen), he told me that people who claim to have writer's block are trying to write the final draft on the first try. He was right.

As I look at this page each night, remembering my commitment to myself to write each and every night, and try to think of something profound to say, I think of that poet's advice. And I wonder whether something profound happens to us every day to inspire us. This morning, as I mulled over that question, the answer seemed, all of a sudden, to be obvious. I thought of Emily Dickinson (whose house in Amherst, Mass. is pictured above) and that, in her lifetime, she had only a dozen poems published. Yet, when they went through her room (also above), they found almost eighteen hundred poems, some written on no more than scraps of paper, in a chest. This poetic production came from a women had rarely left her home. And yet, she didn't seem to need to. She never ran out of observations to make about life, love and nature.

I NEVER saw a moor,
I never saw the sea;
Yet know I how the heather looks,
And what a wave must be.


When I thought of her this morning, I realized that we have "profound" moments every day of our lives. A number of my coworkers have said to me "Boy. I'll bet you can't wait until June to retire." My response seems to surprise them every time. "I am not looking at June right now. It will come soon enough. I am looking at today." I am, and since I am looking, I want to see every moment of it. Every sunrise, everybody I meet, every tree, every house, every sunset, every star, every single day and night.

It snowed last night. I have seen snow before hundreds of times, yet last night's snowfall was unique. I was at dinner with friends at The Riverside Cafe in Red Bank, eating a great meal at a table near the window. Across the street, against a brick flood-lit wall, I could see the snow drifting down through that light to the sidewalk below. What a beautiful sight it was as I feasted on baked Brie cheese sitting in a pool of raspberry compote, braised lamb shank, cooked until it fell off the bone, sauteed vegetables and orzata. Great food, great company and a great dinner. And what a beautiful experience.

I think that we sometimes concentrate on what's ahead rather than truly see what is right in front of us. I believe that a poet should be able to see the extraordinary in the ordinary. Miss Emily certainly did.

I never spoke with God,
Nor visited in heaven;
Yet certain am I of the spot
As if the chart were given.
Emily Dickinson (XVII)

Saturday, January 30, 2010

Visit to Verona


I finished writing a brief memoir of my relationship with my aunt, Edith Leon. I am not going to give much of an introduction to this piece, but let it speak for itself. I promised her one day that I would finish it and publish it. Today I have done both.

A VISIT TO VERONA
Christopher Bogart


Over the years that I have been visiting her, my aunt and I have developed certain traditions. Nothing fancy. Just simple traditions. Like the lunch she makes when I arrive in her apartment. Or the walk we take in Verona Park. Dinner at Meile’s or Caldwell Diner or Linda’s Chicken. Most often at Linda’s. We have at times varied this itinerary over the years with shopping trips into Montclair or the Verona Arts and Crafts Fair or Eagle Rock State Park. But mostly, it is lunch in the apartment, a walk in Verona Park, and dinner at Linda’s Chicken. “Chris.” She says with a big grin on her face as if she is hiding a secret like maybe I won the million-dollar lottery. “They have creamed spinach today!” In all honesty, their creamed spinach is delicious. Spiced and creamed just right. And their chicken! Cooked over an open fire until it is crispy and juicy. Their side orders, like the acorn squash or their smashed potatoes, are equally mouth watering. But it isn’t just Linda’s Chicken or Verona Park that bring me up to the mountains far too infrequently. It is my Aunt Edie.

My aunt and I are not even really blood related. She and my Uncle Sey were friends of my father and mother from before I was born. I was born and raised a Catholic, sent to Catholic grammar schools, Catholic high schools and a Catholic college. My aunt Edie is Jewish, from Polish Jewish stock that emigrated here at the turn of the century. But over the years of shared laughter, shared conversation, shared loss and shared joy, she and I have become mishpocheh. Family.

And well she should be. She has been a constant presence in my life and in my memory. Through old black and white pictures, I have a continuum of images of her in my mind of the beautiful young dark-haired woman of my youth, sitting on a blanket in the park, her hair cascading down her back to the wise little elf with the pixie cut of hair the same color in her seventies as the woman in the park of my youth. Her face still retains that same guileless innocence; her eyes, that same twinkle of mischief and mirth. It is as if she has not passed a single day since the first day I met her for the lines of age in her face merely underline the virtues already present and comfortable in her nature. And the awe I have always had of her, the mystery that has surrounded many raven-haired beauties of history, surrounds her still. On the day my father took me for my first haircut as a very little boy, I lifted my head from my tears to see a picture on the calendar hanging on the wall in the barbershop of a raven-haired young woman sitting on a blanket, her long dark tresses flowing over her naked shoulders, her scarlet lips in a pout. “Look!” I cried out with glee, pointing to the calendar on the wall. “Aunt Edie!”

My aunt is a child of the Great Depression, much like my mother is; and, like all children born during a time when money and jobs were scarce, they learned certain lessons about life. Just not the same lessons. My mother, like other children that had experienced the Depression, came to adulthood swearing that their children would never live the way they had. As a result, my generation struggles with excess weight given us by our parents in an effort to be sure we were never hungry. When my family had company, let’s say four or five visitors, there was food for twenty on the table. I don’t know whether they did it because they could or because they wanted people to believe they could. Whatever the reason, it had the same result- the support of a thriving health and fitness industry from fad diets, great abs, exercise programs and exercise equipment that can be folded up and shoved under the bed when not in use. But that’s not the lesson my aunt learned from the Great Depression.

Frugality. That’s what my aunt learned from the Great Depression. And she learned it the hard way. She grew up in New York City at a time when immigrant families got by on the barest of necessities. She has told me of stuffing cardboard into old shoes to cover the holes in the soles, of wearing two and three summer-weight hand -me-down jackets in snow as a substitute for a winter coat, and of looking at clothing as functional not in a stylistic sense, but as practical necessity. She and her brothers and sisters learned at an early age to become smart shoppers, not by comparing prices to look for the best buys, but when her family was not able to pay their tab at the neighborhood store, of finding different food merchants that did not know them and would offer them the credit that they desperately needed to eat and survive. Toys were whatever discarded items were available. An empty carton or wooden crate. A broken and discarded baby carriage. With a little imagination, these could be transformed into an escape from the mean streets of the city, and the drab and bare existence they represented. It was these ghosts that taught valuable lessons in the frailty of human existence, lessons not soon forgotten.

I was sitting at her kitchen table on one of my most recent visits, watched her make my sandwich. She lay the small leaves of lettuce on the roll as though she was laying a newborn infant into a crib. And as I watched the care in which she handled the very food that we would be devouring in a matter of minutes, I realized the deep respect she had for this necessity of life. It reminded me of one time when she had come to my house for dinner, and was watching me clean up after the meal. “What are you doing with that?” she asked me.

“With what?” I asked, almost unaware that I was doing anything special.

“With that broccoli.”

What broccoli, I thought. There was only one stalk left in the bowl. “I don’t know.” I responded, somewhat confused. “Throwing it away.”

“Don’t throw it away.” She said, gently but firmly. “There are people in the world that would kill for that food.”

I looked down at the stalk of broccoli dumbly. “What am I going to do with it?”

”Put it in a little plastic wrap and put it in the fridge.”

“For what?” I asked, still not getting it.

“You can put it salad tomorrow for lunch. With a little oil and vinegar.” I looked into her face, and saw an expression that was trying to convince me of the reasonableness of the suggestion. And of its importance.

And as I watched her in her own kitchen spreading the tuna salad on the lettuce, I was further reminded of the importance that food had in her early life. And to the lengths she had to go to insure its continued presence to her family in her childhood. She placed two slices of tomato on each sandwich, and then wrapped the half tomato remaining in plastic wrap and placed it in the fridge. The images of childhood can be a great consolation in adulthood; and the ghosts of childhood can teach frightening and unforgettable lessons.

And while my aunt still values the importance of frugality as a virtue, she also values generosity as a virtue of equal importance. The juxtaposition of these two virtues have sometimes confused me, but always taught me how complex and yet wonderful her character is, and how gracefully she wears it. I called her one August day a few years ago, and, in conversation, mentioned that I had been at the beach and found a ten-dollar bill on the sand at the water’s edge, snagged in a piece of old fishing netting.

“Put it in the bank.” She stated unequivocally.

“Why?” I asked out of curiosity. Sometimes I wonder whether I ever learn.

“Found money makes money. Put it in the bank and it will make you more money.”

What did I have to loose? So the following day I went to the bank and deposited the faded ten-dollar bill in my savings account. The following afternoon when the mail arrived, I noticed a card from my aunt. Inside it read, “Thinking of you. Love, Aunt Edie.” And in the card was a check for one thousand dollars.

I called my aunt. “What’s this all about?” I asked her.

“Uncle Sey and I were talking and we decided that we’d like to give you some money so that you don’t have to wait for us to die to enjoy it. This way we’ll be alive to see you enjoy it.”

“That’s not necessary.” I said, a little embarrassed by the generosity of the gift.
“I know it’s not necessary.” Was her quick response. “It’s something we wanted to do. That’s all.”

“OK.” I said contritely. “Thank you.”

“Your welcome.” She responded simply. There was a brief moment of silence as I tried to think of something more original to say. But she beat me to the punch.
“See. I told you found money makes money.” I could almost see the twinkle in her eye over the phone lines. She had gotten me. “Put it in the bank.” She added. “It will be part of the down payment on a house one day.”

She was right. That money was the beginning of a drive to save and bank over the following two years. And in August, just two years after I had found that ten-dollar bill, I bought my first house.

“You ready to go?” my aunt asks me as she rinses the lunch dishes in the kitchen sink.

“Sure.” I respond, and we leave the apartment and walk down Bloomfield Avenue toward Verona Park. “I want to stop at the Luncheonette and get a lottery ticket.” She comments to me as we stride down Bloomfield Avenue, her two steps to every one of mine. Sometimes we stop at the Pharmacy to see what new sales they are having. And sometimes we walk to her bank if she needs to do some quick transaction. The first day we went to the bank on one of our walks, she was just recovering from one of the many illnesses that my aunt has had to cope with in her life. I was concerned about her ability to handle quite such a long walk so soon into her recovery. I didn’t really know how to slip into the conversation that maybe driving to the bank might be in her better interests.

“Where is this bank?” I asked as subtly as I can.

“Don’t worry.” She responded. “You’ll recognize it by the flag that flies out in front of it.”

“Flag?” I asked, not sure of what she was trying to tell me.

“Yeah. Flag.” She said, with a slight touch of annoyance. “The one with the
money sign on it.” OK. Now you don’t have to hit me with a bat. She’s up to the walk and my best strategy is to drop it. The flag with the money sign. Good one, Aunt Edie.

But today we are not going to deposit money. Today we have a mission. Today we are going to spend it. “I didn’t know you bought lottery tickets.” I commented to her, a little surprised that my aunt would participate in anything that akin to gambling. And that I was the representative from the country of Frugality.

“It’s 92 million dollars today.” She says.

“You know,” I comment, trying subtly to inject a note of fiscal reality into the conversation, and finding it hard to believe that I am the one doing it. “They say that you have a better chance of being struck by lightening than by winning the lottery.”

“Never know unless you try.” She says as we enter the store. “You buy one too. It’s only a dollar.” We purchase our tickets and are filling them out on top of a pile of newspapers.

“You have a system?” I ask.

“Sure.” She replies. “Ickel-michel.”

Now I know about the famous ickel-michel. I’ve seen my aunt find us parking spaces, good bargains, and good seats in the park all by ickel-mickel. But now she was going to use it to win a large sum of money.

I used to think when I heard her use the expression that it was Yiddish. My aunt was forever trying to teach me Yiddish. Her conversations were peppered with it. Sometimes to listen to her talk she sounded as if she were speaking “y’english”. So when I first heard this expression, I ran to my copy of Rosten’s The Joys of Yiddish. No luck. So I called her on the phone. “Aunt Edie. I can’t find ickel-mickel in the Yiddish book.”

“That’s because it’s not Yiddish.”

“What is it?” I ask curiously.

“Nothing. Its like Snickelfritz und Frautzen. I made it up.”

“You made up Snickelfritz and Frautzen!” I exclaimed incredulously. Now I remember my Uncle Sey telling me once that his family belonged to a Native American tribe. The Shmedrick Indians. That was funny. My Uncle Sey had a dry wit that never failed to hit the mark. He explained to me once that when he died, that he would be buried in the family plot in the Jewish cemetery in Brooklyn. “You know.” He told me, “your aunt is not going to be with me.” Surprised, I asked where she was going to be buried. “Your aunt wants to be cremated, and her ashes spread over Long Pond Lake. I am still going to have her name engraved next to mine on the tombstone. But instead of her dates below her name, I am just going to put nickt du.” Not here. That was my uncle’s sense of humor. But that the steadfast Snickelfritz and the loyal but slightly insane Frautzen were made up was just too much to believe. My aunt used to come over to our home in Canarsie when I was a boy of four and babysat when my parents went out. I used to look forward to those times for days in advance. She would bring me a little cardboard box that looked not unlike a little valise full of Anne Morris fruit lollypops. We would sit on the couch with the yellow slipcovers adorned with large rose colored floral prints, and she would regale me with stories of the adventures of Snickelfritz and Frautzen. I had always thought they were real, and that if I could slip into their world, what larks we would have.

“So you are going to use ickel-mickel.” I responded looking over at her.

“Sure. Aren’t you?”

“Of course.” I responded with a smile, and we gave the man at the counter our tickets and our money and left the store.

“What are you going to do with the money if you win?” she asked, like it was a sure thing.

“I am going to send you back to visit Israel.”

“Oh no.” she replied. “I can’t do that now. Maybe another time.” And we strolled across the street and into Verona Park.

We spent that afternoon, as we had on every visit, talking of the latest news of friends and relatives, remembering stories from our shared past, and talking about the future, mostly mine. We spoke of the alien face that appeared my magic on the bottom of an old frying pan, or one of her “past lives” as a young Chinese girl in a country town in China. There was a certain feeling of safety and predictability about her life. And like a huge bubble, one in which she gathered everyone that was near her. And we felt safe, warm and loved just being near her. And her future seemed to be as preordained as the continuous stream of todays she lived every day. She liked her life, and those of us who are lucky enough to share a small part of it with her, like it too.

Later, we went to Linda’s Chicken for dinner. They had creamed spinach.

Friday, January 29, 2010

They were once new too ...


I was standing outside in the late fall last year, and was looking at the dead and dying vegetation in front of me. Potential. I guess that's what struck me most. Everything once had its day. This field of weeds that were facing the frost with sad determination. But with resignation. And, as it always is when I look closely at nature, I was struck with the similarities we have with the rest of nature. And how much a part of it we are.


They Were Once New Too
Christopher Bogart

They were once new too,
These high boys of the corn,
Their green shoots full
Of the warmth of a new summer sun.

They waved then too
With warm wind willing,
Flirting in their callow ways, their stays
Were brief, transparent,

Transient lovers of the earth, these
Musky brothers, cavorting in summer sheaves.
Swaggering through morn, staggered in the fields,
Full of their own promise and the ever gentle warmth,

Their close breath borne on the late summer wind,
A faint whisper in the ears, they bear
A hot exhale filled with their fears,
Their moisture running, drained to barren ground.

The sound of their short climactic reigns
Pound the slowly darkening, cumulus sky.
They live the last of summer’s ecstasy, only
To die in the dim light of autumn’s brown eyes.

Thursday, January 28, 2010

Damned Sand


As I have mentioned a number of times before, I have been teaching for a lot of years. And, during that time, I have seen a good number of my students become successful, get married, have children and lead good lives. I have, unfortunately, lost a number of my former students in a variety of ways, mostly in automobile accidents. I have also seen a number of my students go into the military. They join to serve their country; and,in the process, grow up. However, some have returned from active duty scarred by what they have seen and the nightmares it gives them. I am proud of them for their service to their country, and have tried to help them through the difficult process of finding peace with their war experiences. It is to all of these young men and women and their service to their country that I dedicate this poem. It's story is the story of one of them.

Damned Sand
Christopher Bogart

He sat right next to me in the diner booth.
Not the boy I once taught,
But the man,
The soldier,
Back from Iraq -
But only on leave.

Across from us sat his wife,
And two year old daughter
In a pink top with two little pink barrettes
Tied in her curly brown hair.

She had to use the bathroom, she whispered to Mommy.
“Excuse me.” His wife smiled painfully,
As she slid her daughter, and his, across the smooth vinyl seat to the aisle.

When they left, we sat for a while, in silence.

“Excuse me.” He said suddenly in a whisper,
And he slid to the edge of the vinyl seat to face the aisle.
Frantically, he pulled his sneaker off and tapped it on the floor,
Again and again.
“Damn sand!” he muttered,
As he tried to empty
An empty shoe.

It was the sand that stung his tanned cheeks,
Tiny arrows that whipped him in the wind,
As he advanced under the cover of their fire,
The dull thud of artillery pounding the shelled-out town,
Sending mushrooms of thick black smoke
Into the hot dry air.

Ears ringing,
Sand stinging,
The little black dots,
Like ants pouring out of an anthill,
Advanced.

As they approached,
On the ground ahead
Among the rubble,
He saw the figure
Of a baby doll,
Scorched and charred,
On her hands and knees
As if she were trying
With all of her might,
To crawl to the open plain of sand,
And safety.

He approached the charred form with sadness,
His thoughts drifting back on the west wind
To his own daughter,
Distant now
But never far away.

This could be her baby doll,
He thought as he approached the form.
This could be…

But it was not her baby doll,
Nor was it any baby doll
Of any other child…

Salt droplets …
Sweat?
Tears?
… Ran down his cheeks
Only to evaporate in the hot dry sand.

Much later,
As I pulled out of the diner’s parking lot,
I could still see
In my rear view mirror
His wife and daughter sitting silently in the car.
He stood outside,
With one hand on the hood,
Banging his sneaker against the bumper,
Again and again,
In a useless effort to empty it
Of that damned sand.

Wednesday, January 27, 2010

Film Inspiration


I didn't get home until six tonight. I have been helping a nineteen year old gang member pass English so that he will be able to graduate this June. He has told me that he knows that without a high school diploma, he stands almost no chance at a productive adult life. This young man has been is a gang since his early adolescence, when he was abandoned to the streets, and his body sports a few knife wounds and a bullet wound. I can only guess what wounds, if they could be inspected, scar his heart. He shows up every afternoon at dismissal. He has to come back from vocational school out of town to meet me. And yet he has done so, every day, and right on time. His sad eyes wince slightly when he talks about his past, and when he tells me that he is too afraid to leave the gang, the only group of people, however dysfunctional, that have been a real family to him. I have heard this story again and again over a forty two year teaching career. The wrinkles the wince creates seems to say "It doesn't matter." "It's not important." The hurt in his eyes tell a different story. His eyes don't lie.

In 1961, the movie musical West Side Story was released into the movie theatres. While the inspiration for the story was Shakespeare's play, Romeo and Juliet, it was inspired by the murder of Michael Farmer, a crippled teen, in New York City. He was stabbed sixty-seven times. He was in the wrong place at the wrong time. It was a gang killing. He was a Balkan, an Anglo gang, killed by the Dragons, a Latino gang. These gangs were the prototypes of the Sharks and the Jets in West Side Story. I saw the movie in the summer of 1962. I was sixteen years old, and almost every one of my adolescent friends saw it. It was the talk of every teen party that summer. Some of my friends thought the gang bond "cool." Some loved the dancing and tough attitude. I, alone among them all, wondered how I could work with these troubled teens and save them from themselves. An odd reaction from a teen whose parents expected him to be a lawyer.

I entered St. Peter's College in Jersey City at the age of seventeen. Two months after I entered college, President John Fitzgerald Kennedy was assassinated in Dallas, Texas. Three days later, his assassin was assassinated. By the time I was twenty, I was looking for summer work between school terms, and found a job in the Anti-Poverty Unit of the New York City Housing Authority. I worked there for three summers. This unit was responsible for hiring teens to keep them out of gangs and off the street. Over those three years, I worked with a number of former gang members, including some of the Dragons who killed Michael Farmer. I faced gang violence and saw drug death on project rooftops. I was hooked. So it was no surprise that in the spring of my senior year, instead of going to law school, I decided to teach.

While the first fifteen years of my career were spent in private school, far from the gangs of New York, I spent my summers working with "suburban gangs," gang wanna be's who didn't die in gang violence, but in automobiles in drinking and driving accidents. But the M.O was the same. No one cared for them. They didn't care for themselves either. When I worked in NYC in the '60's I learned quickly that I cared. I had cared since I first saw that movie, and was troubled by the pain I saw on the screen, immortalized in the song from the movie, "Officer Krupke."

And forty-two years later, I still care. So tomorrow, I will come back from an all-day meeting I must attend and sit down with my gang member, and help him get that diploma. And I will care for him, until he learns how to care for himself.

Tuesday, January 26, 2010

"I look at clouds from both sides now."


I have always been in awe of clouds. Ever since I was a child, I would look up to the sky and see them there, suspended in mid-air above me. And I wondered what they were, why they were there and how they could be so very beautiful. They were so big, so magnificent. Each different. No one like the other. They were the leviathans of the deep blue sky, moving ever so slowly across it like animals grazing across an open plain. And in such variety. There were huge mountains of white, thin strips of pink, and long lines of orange and grey.

When I was fifteen years old, I was in the seminary, studying to be a Brother of the Sacred Heart. It was a beautiful, still summer evening, and we had gone to the chapel after dinner for evening prayers. As we recited the office in unison, I looked to my left out an open stained-glass window. What I saw there, in the wake of the setting sun, appeared to me to be miraculous, a spiritual experience. I went back to study hall later and wrote the following poem.

Summer Evening at Sacred Heart
Christopher Bogart

Among the pink, swift flowing clouds,
Among their high, full shining domes,
There lies a God among those clouds,
Where angels make their journey home.


It wasn't until a few years later that I found out that these celestial objects that had me in such thrall were no more than frozen vapor.

A cloud is a visible mass of droplets, in other words, little drops of water or frozen crystals suspended in the atmosphere above the surface of the Earth or another planetary body.
From Wikipedia, the free encyclopedia

In the succeeding years, when I looked up to the sky and saw clouds, I still stared with awe, but also with a certain disappointment. They were not the objects of inspiration I had once thought they were. Now they were just elements of atmosphere. Yet, I never lost my love of looking at them. I recognized that they were still sources of inspiration for me. And I wondered how I would reconcile factual knowledge with spiritual inspiration. After all, there were other elements of my life that, while purely physical, were also heartwarming and inspiring. A smile, a hug, an intimate moment in the dark. What were these? After all, the human body is mostly water!

The human body's chemical composition consists of a variety of elements and compounds. By mass, human cells consist of 65–90% water (H2O), and a significant portion is composed of carbon-containing organic molecules. Oxygen therefore contributes a majority of a human body's mass, followed by carbon. 99% of the mass of the human body is made up of the six elements oxygen, carbon, hydrogen, nitrogen, calcium, and phosphorus.
From Wikipedia, the free encyclopedia

What had I been hugging? A big pool of water, with assorted elements? It certainly never felt that way. I felt warmth, joy and a feeling of security. The same feelings I have always felt looking up to the sky to see those beautiful masses of water droplets. Maybe, I thought, it doesn't matter what science tells me things are made of. That I have knowledge of their composition is no reason to reject the inspiration I have always felt in experiencing them.

So, at each sunrise, in the cool of each afternoon, whether summer, fall, winter or spring, and at each sunset, I look up to the sky now, without guilt or naivety, and simply allow myself to enjoy what I have always enjoyed. I accept the inspiration.

Heat Lightning
Christopher Bogart

“Raindrops on roses and
Whiskers on kittens…”
Leave me stale,
Fail to move me
At all.

Yet I fall into wonder
At the rumble of thunder
When it lurks from its lair
In the dark lonely hills.

My eyes flicker brightly
At the flash of heat lightning
As it streaks ‘cross
The clear summer night.

My dreams float up high
On impossible whiteness,
On the softness
Of starchy white clouds.

My mind fairly dives
Through deep royal blue
With the chill
Of the late autumn day.

Cold sweeps ‘cross my skin
Pulling me to a kinship,
And the promise of snow
In the slate winter sky.

It’s the slam
Of the thought
Of my great
Insignificance
That envelopes
My nature
In a oneness
With Nature
And the crashing
Reality
Of just
Who I am.

Monday, January 25, 2010

Flat Baroque


I know that I promised that I would write each night and post my writing on the blog. However, I really could not think of anything original to write about tonight. So I am, at least to the letter of the law, writing and posting. What I am writing is this brief introduction to an event in musical history that occurred over two hundred and fifty years ago. It was not so funny at the time, I would imagine, but it brings a smile to my face now whenever I think about it. I wrote a sonnet about it a few years ago, and have read it often in public readings. For those of you that are unfamiliar with the event, I have included a brief abstract from Wikipedia Online Encyclopedia. Of the twenty-five sonnets that I have written so far, it is the only humorous sonnet. I hope it brings a smile to your face as well.

Music for the Royal Fireworks is a group of five pieces for orchestra composed by George Frederick Handel in 1749. He was asked by King George II to write the music because the king wanted some music and fireworks to celebrate the Treaty of Aix-la-Chapelle. This was an agreement between a lot of European countries to end the war they had been fighting.
The king wanted the celebrations to take place in Green Park in London. He wanted the orchestra to have lots of military instruments such as trumpets and drums and “hoped there would be no violins”! He wanted the orchestra to have a rehearsal in Vauxhall Gardens to which the public would be able to go. Handel was not very happy with these arrangements, but in the end he agreed.
The rehearsal in Vauxhall Gardens took place on 21 April. This was just for the music, there were no fireworks. There were 12,000 people in the audience. The huge crowds caused a three hour traffic jam on London Bridge. The tickets for entrance cost 2s 6d (two shillings and sixpence, worth 12 ½p in modern money).
Six days later the real performance took place in Green Park. The orchestra played in a building which had been specially made. The music was played while the fireworks went off. Unfortunately there was a disaster. The building caught fire when a huge bas relief of the king fell down. However, no one was hurt.


From Wikipedia, the free encyclopedia


Sonnet 14
Christopher Bogart

When German George told George to write some tunes
To orchestrate his fountains’ bubbling springs,
Young Handel raced against the clock and soon
Had twenty little opuses to bring.
‘Twas then the King gave him a second task –
To orchestrate his pyrotechnic show.
Again young Handel did all that was asked,
Producing pompous tunes played in a row.
But on the day young George discharged his charge,
While players tuned their instruments in sync,
A pyrotechnic renegade hit barge,
Dumping flutes, horns and players in the drink.
The players and their instruments were soaked,
Unable to play on what was now baroque.

Sunday, January 24, 2010

One Long-Stemmed Rose


As I come back to this blog each evening, I come back with memories. And sometimes, like tonight, memories in memories.

For a couple of summers in the early 1970's, I worked as a playground supervisor for the Madison Township Recreation Commission at Southwood Schools in Old Bridge, New Jersey. They were memorable summers, maybe more memorable than I would ever had wanted them to be. Many of these memories were good and productive. Some were not. In short, the job for which I was hired, running a summer program for local children from six to twelve, was almost secondary to the job I adopted for myself, trying to take teens off the street and into productive activity. I found myself running a softball league to try to steer a number of teenage boys, some of them pretty troubled, toward a more positive life and out of trouble. I look back on these two summers with satisfaction. And with sadness. On balance, I was successful; and, as a result, they were successful as well. However, for some of those boys, this attention to their needs came a little two late. Over those years, alcohol, and auto accident after auto accident, took a few of them at far too young an age. I considered myself a failure for not being able to "save" them all, and visited their graves a number of times over the next few years. I was a young man in my twenties. I am now a "mature" man in my sixties, and I look at these events in a very different way. Not that I am not sad at their deaths, but happy that the majority of them lived, and many prospered.

On August 15, 2006, I had a reunion with two of them. It was a reunion that was long overdue. We met at Southwood School and fell into remembrance almost immediately. As we walked around the grounds of the school, they spoke of problems that they could never have shared with me when they, and I, were younger. I choose not to mention their names to safeguard their privacy, but one is now a teacher with a masters degree, and the other a grandfather. We rode around the housing development, remembering who lived at this house, and who at that. Then, we went to Holy Cross Cemetery on Cranbury Road in East Brunswick where those who could not be with us on that day were buried. I had bought a dozen long-stemmed roses to lay on the graves. We paid our respects to those we lost, and then we went to lunch at the Olive Garden.

It was many years ago, but I could see on their faces and in their manner, that they had not forgotten. And, like me, still were in contact with the sadness of what had happened those two summers so many years ago. For me, however, I felt that loss but also gain, for I had them. I was proud of them, and all of the other young men that left that softball field to create for themselves successful lives. I wrote the following poem as a reminder. As if we could forget.

One Long-Stemmed Rose
Christopher Bogart

There’s an uneasy stillness in this place,
Where those we loved,
We have left in peace
To sleep
Beneath the ground
Of our overwhelming helplessness at their departure.

Our grief lies like a pall along the grass strips
Between the stones
That seem to gather
‘Round our feet.

We roam its close-cut lawns
To read past the names of shades we’ve never met,
In our attempt to find the few
We felt we really knew,
To stand before them and
To wonder
How we can find them now.

Are they at peace below this soil,
Wrapped in this manicured lawn
So carefully cut?
Do we not wonder if the pain
We feel at their loss
They feel at theirs?
What life is here
Where life has ceased to be?

We walk to them to bear one long stem rose,
Wrapped in clear plastic,
Transparent protection from their thorns.
Our pain is borne among those thorns
As we try to make some sense
Of senseless death.

They once lived their lives
Along the greening path,
So strewn with those same thorns
Whose sharpened tips in life
Drew blood,
Drew pain,
In vain attempts
To find love,
To find care
In a world that never seemed
To care enough.

We lay our only offering,
One long-stemmed rose,
One each upon their graves,
In memory of the thorn-strewn path
They had to clasp
To find at last one bloom
They can call home.

Saturday, January 23, 2010

The Collector


In 1950, when I was four and a half years old, my family moved from the temporary housing the government had built for returning soldiers and sailors from World War II in Canarsie, Brooklyn to a NYC Public Housing Project in Flushing, Queens called Pomonok. Apartment 1C at 65-56 Parsons Blvd. would be my home for the next seven years.

At that time, Queens was transitioning from suburban to urban, with apartments spreading all throughout the borough. I started school there at P.S. 201 on the other side of Horace Harding Blvd., a two lane road. The school was right near Kissena Park, and you could walk to school every day. To realize how odd that experience was, all you have to do is to know that old two-lane Horace Harding Blvd. is now the Long Island Expressway, a major artery with four lanes in each direction. Today, you would cross that highway at the risk of your life.

When people think of the 1950's today, they think of the beginning of rock and roll, the Brooklyn Dodgers, stick ball, scully, potsie and shooting marbles on whatever patch of dirt you could find. Those next seven years were an interesting experience, filled with activities that would never be seen again in American culture. For, no matter how "suburban" Queens was then, it was also "city." The fruit and vegetable truck came up Parsons Boulevard once a week, and our mothers would come out and buy fresh fruit and vegetables. And we would ask for the empty orange crates. Those crates, with their long slats of wood and thick ends, were great raw material for making a number of things. Two slats nailed together with one of the pieces of the end of the crate as a butt made a rifle that could be used in cowboy gun fights on the courtyard grass. And if your father bought you a four by four, the whole crate could be nailed to that plank, and old roller skates, taken apart, could be nailed on the bottom of the plank; and, voila, you would have a scooter.

But I really never wanted to live in the city. I yearned to live in "the country" with woods and fields, lakes and streams. It was at that time that Walt Disney ran a serial on Sunday night about a rich city boy and a poor country boy that meet on a dude ranch for teens; and, despite their different backgrounds, became great friends. The serial was called "Spin and Marty" and starred David Stollery and Tim Considine. I looked forward to their latest adventure each week, and reveled at the deepening of their friendship. I wanted a friend like Spin, and envisioned a life away from the continued urbanization of Queens.

When I was eleven, we moved out of Queens to a new split level house in Spotswood, New Jersey. There were woods and fields. What I had dreamed of, had finally come true.

Yet, today I look back at those seven years in Queens and am glad that I was a part of them, and that they have become a part of me. The poem that I have written about that experience, reflects not only who we were then, but who I am now.

The Collector
Christopher Bogart

He is a collector,
a boy from the projects,
from Brooklyn, maybe Queens
with a faded white tee shirt,
draped over bony shoulders,
and hanging down past the waist of his baggy blue jeans,
his white sweat sox ringed with stripes of blue and red,
and shoed with cloth Keds in midnight black.

He collects abandoned treasures,
things discovered, things rescued,
and finds in their forgotten state,
the majesty of form and function:
a pink spaldeen ball, bruised from its contact
with the stoop’s stone steps and pin-pricked
to give it just enough bounce and drag; a stick ball bat,
once consigned to sweep or mop the kitchen floor,
with just the right heft, held firmly in both hands
and tapped on the cement sidewalk before it slices through the air.

Soda bottle caps, filled with melted wax,
become an indispensable racing piece
in a fast moving game of street skully.

Empty shoe boxes of gray cardboard contain stamp collections,
coin collections, photos and postcards, or
the buried remains of a hamster or a budgie.

Empty coffee tins, with holes punched in their lids,
keep grasshoppers, crickets and toads,
while marmalade jars hold butterflies,
ladybugs and fireflies, collected past at the setting sun.

And tobacco cans, particularly the maroon Prince Albert,
hold true treasures, the talismans of youth:
a dyed blue rabbit’s foot on a chain,
assorted bottle caps with serious skully potential,
cat’s eyes and aggies for games kneeling in the dirt,
and baby teeth, forgotten by the tooth fairy.

Slipped into the back pocket of faded blue jeans,
these tin cans contained the treasure trove of one young life,
and their rattle, heard with each advancing step, a reminder
of the music in memory.

Friday, January 22, 2010

The Giant Rat of Sumatra


I love detective murder mysteries! I've loved them for years. I don't know when it started, this love affair, but it was many, many years ago. And a lot of books ago. Hundreds of them. I have read all of the Sherlock Holmes murder mysteries by Arthur Conan Doyle, all of the Nero Wolfe mysteries by Rex Stout, all of the Spenser mysteries by Robert B. Parker, all of the Agatha Christie mysteries with detectives Hercule Poirot, Miss Jane Marple, Tommy and Tuppence Beresford, Parker Pyne and the enigmatic Harley Quin. All eighty-six of them. I have traveled through the Middle Ages with the Brother Cadfael mysteries by Ellis Peters, and the Knights Templar mysteries by Michael Jecks. Wandered through the Navajo Reservation with the mysteries of Tony Hillerman, and through post-World War I England with Scotland Yard's Detective Rutledge on cases written by Charles Todd. Oh, I almost forgot, the Elizabethan mysteries by Fiona Buckley about the court of Queen Elizabeth I and the Alex Cross mysteries by James Patterson. And many, many more.

There is an infinite and fascinating variety of characters in this genre. From a mustache-waxing Belgian Poirot to the Navajo Police Sgt. Chee. And from the cocaine using, violin playing eccentric who, almost single-handedly founded modern forensic detecting. But writing isn't just about rattling off the names of murder mystery writers or the names of their detectives. And I am writing this post because I have never really explored why I love this genre, why I have always had one of them on my nightstand by my bed, and why I have chosen to read these stories before I go to sleep each and every night. I am not sure I could even begin to guess why I have developed this habit over the last forty years.

My first memory of reading a detective mystery was The Tower Treasure, the first in the series of the Hardy Boy mysteries by Franklin W. Dixon. My father and mother bought me this book, and I read it sitting in the back of the black '48 Chevrolet in front of Kleins on the Square Department Store in New York City, knish in hand, and a bottle of Coke between my legs. I loved those books, and read every one that I could get my hands on. By the time that I grew out of them, there were only 12 in the series. Those twelve books sat on the bookcase at the back of my bed for years. When I was in college, we had a garage sale in our driveway, and a young lady bought the books for her young son. I never saw the books again. That is, until a few years ago. I was in The Bookworm, a used book store in Cranbury, NJ, when I saw the Hardy Boys' Mystery The Secret of Wildcat Swamp. Out of curiosity, I looked inside the book and found my handwriting in pencil. I bought that book and it is sitting on the bookshelf in my study and in front of me as I am writing this post.

I don't know what has attracted me to all of these murder mysteries for all of these years. Maybe it is the continued challenge to the logical part of my brain. Maybe it appeals to my sense of fairness and order in the world where the good guys don't always win in the end and the bad guys don't always loose. Or maybe my love affair with the adventures of Frank and Joe Hardy have extended over my lifetime. I don't really know. I can only guess. And that is good enough for me. For, before I go to sleep tonight, I will lie in bed with my two pillows propped under my head, and do what I have done every night for what has seems like forever. And tonight, like all those other nights, I will enter a world that I know so well, a world of dead bodies, clues, investigation and mystery. For the game is afoot.

Wednesday, January 20, 2010

Just a Little Humor ... and pebbles.


After the last three days of posts, I thought that I'd lighten the mood a little. And at the same time, actually fulfill my promise to myself to try to write a poem a day. Two birds with one stone. Or pebble. So to speak.

I had the radio on while on my lunch break today, and found myself listening to the reading of a poem. As the reader began reading, I found myself silently anticipating the rhythm, or the smooth sounds of verse, or ... something that would identify what I was hearing as poetry. But it seems that you don't have to have any of those things to call a piece of writing a poem. Try as I may, I couldn't hear anything that would divest me of the idea that I was listening to prose. Not poetry.

Well, it accomplished one thing. It forced me to write a poem. At least, I think that it's a poem.

Poem
Christopher Bogart

It’s funny
what passes for a poem
these days.

“I saw a pebble
on the sidewalk of life
today … and I thought
of my childhood,
all alone on a sea
of hard cement …”

You’re kidding!
Right?

Maybe if it’s read
in a mellow tone,
thoughtfully,
deliberately …
maybe by Garrison Keillor.

“I saw
A pebble
On the sidewalk
Of life …
Today …”

Nope.
Still doesn't do it.

Perhaps it’s the pebble.
So solitary.
So alone.

“The sea is calm tonight…”
on the pebbles of Dover Beach.

Naw!

More than two pebbles
don’t seem to make it better.

“Let me not, to the marriage of true minds,
Admit impebblements.”

The whole thing just sounds
so very
pretentious,

irrelevant,

like this poem.

Maybe if it were
A Stone … ?

Tuesday, January 19, 2010

Triptych of the Lamb - Home for the Holidays


Home for the Holidays

“Worthy is the Lamb that was slain, and hath redeemed us to God by His blood.”
Revelation 5:12-14


At first, the snow falls fine,
A dusting in the darkness,
Drifting like glittering white tears,
Shed from the blinking eyes of silver stars, and
Chased down through a deep black night
To a city in waiting below.

By the time the sun has risen
To chase the darkness of this black night away,
The earth is coated completely
In a comforter of thick white down that
Blurs sharp lines,
Creating softened shapes,
Weird white landscapes,
Anonymous mounds that twinkle,
Pristine,
Shining
In the soft clear light of a brand new morn.

Soon children chase each other through the park,
Flopping to the ground in down snowsuits of
Pink and red and white,
Their limbs flutter in counterfeit flight
Of snow angels,
Hovering ‘round a single form on the park bench beyond.
Hidden from their sight,
A pale blue hand extends from out the glittering white,
To clutch the knotted handles of her bags,
Crumpled brown paper soaked and sagged,
Stuffed full with the frigid treasures of a lost fight.

Sprawled across the stone steps of subway stairs,
His head leans gently against the stained enamel walls,
His empty eyes stare out at three Shepherds,
Who howl now at their frosty find.
His hands, awash in dirt and grime,
Stiffly clutch the seams of his tattered coat,
A futile attempt to trap the dreams so long escaped,
Like smoke,
Into the cold night air.

Three blue riders on massive chestnut mounts
Face in to block the entrance to the alleyway,
Their horses’ hooves paw well-worn stone
In impatient homage to a crumpled form.
Nestled in a cold dark niche the faded brick
Has carved in an obscure corner
Of the concrete heart of a city of stone and glass,
Lay the body of the teenage boy, Emanuel.
His shoulders slump against the hard wooden door,
His long pale arms are splayed out wide.
His calloused knuckles nudge the ancient oak.
The hollow hypodermic nails his wrist,
As if to pin him to the planks,
A shroud of snow wound ‘round his lifeless form.

Soft sunlight sneaks silently over blue shoulders
To fall at last
Upon his cold grey face.
Snowflakes,
Trapped in the tangles of his chestnut hair,
Slow melt,
Bead upon his alabaster brow,
Then roll down the sides of his broken nose
Around his muted lips,
To drip
Off the cleft of his chin,
To puddle
In a cold damp patch on his soiled tee shirt,
Just above the cleft
Of his broken heart.

Yet, not so very distant from the alleyway,
The park bench
And the stone of subway stairs,
Not so very distant
As real is from distant dreams,
Feint strains of carols stream beneath church doors.
Lighted trees in cathedrals glitter Silver and Gold,
Sprigs of holly decorate high vaulted halls.
The smell of evergreen,
Of gingerbread and
Frankincense and Myrrh,
Ancient symbols of suffering,
Of sacrifice,
Rise into the air.

It is on this day
We put aside all care.
For it is Christmas Day,
And He has come home,
At last,
For His Birthday.


“Lord when did we see you hungry or thirsty or a stranger or naked or sick or in prison, and did not minister to you?” Matthew 25: 44

Monday, January 18, 2010

Triptych of the Lamb - Pony Ride



Pony Ride

“Behold the Lamb of God, that taketh away the sin of the world.”
John 1:29


The boy, almost eighteen, sits on the damp concrete of a narrow alleyway,
His legs tucked up in a fetal position,
The open toes of his worn black sneakers,
Jammed against the cold brick wall,
His back pressed against an old wooden door.

He nudges the cleft of his chin against the collar of a dirty jeans jacket.
His thick fingers fumble eagerly for his kit,
As he hums a tune softly,
A tune from a 50’s TV show he’s never seen.

His hollowed eyes,
Once the beautiful warm brown of a chestnut colt,
Are now pale and vacant,
Able to see nothing but the rubber tubing, the black plastic lighter,
The tarnished spoon
And the white plastic syringe,
Nestled against the S the bent zipper of his jeans had made
In the hollow of his lap.

“A horse is a horse, of corpse, of corpse.” He croons softly,
As he lights the flame under the spoon.
He has lost the spoon he used to use.
This is a different one.
A sugar spoon.
With a short handle.
This one gets real hot,
Real fast,
Sometimes burning the tips of his fingers.
But he is used to it.
He has built calluses on these fingers,
And around the bounds of his tortured soul.

“Get off your high horse!”
He used to hear them say
When he, in truth, would try,
And yet his daily trials were not enough.
They washed their hands of him, for
What is truth?


His laughter wracks his body now,
Still wedged between
The wall and the door.
“I’m getting off on my high horse now.”
He yells into the empty night
In a mock reply
To no one.

As he squirms around his red brick cell
To find a comfortable position,
The plastic syringe
Rolls lazily off his lap
And clatters onto the damp cement below.

“Kiss it up to God.” He mumbles,
Fumbling between his legs until he locates the elusive tool.
Trapping it between his fingers, he lifts it up to his face.
His lips meet its thin silver shaft.
“Kiss it up to God.” He says again as he aims its sharp tip
At the blotched bruises of his arm,
A long track of hurts that leads down
The purple avenue to his heart.
The silver tip pierces the surface of his sallow skin
And,
With a push of his thumb on the plunger,
The sleek white horse is released from its stall,
Brakes its reins,
Then
Gallops uncontrolled through the blueness of his veins.

His brown eyes slowly close in mute consent,
His body slackens in a heap
As he feels a cold wind blow
Snowflakes through his chestnut mane.

He barely notices
As the great white horse jumps gracefully over the split rail fence
And into the unknown field beyond.
He throws his thin arms wide,
Face to the clouds,
Prepared now
For the ride of his life,
And realizing,
Ever so slowly,
He will soon be home for his birthday.

Sunday, January 17, 2010

Triptych of the Lamb - House of Bread



The Triptych of the Lamb
Christopher Bogart

“And with His stripes we are healed.”
Isaiah 53:5

House of Bread

“He was despised and rejected of men; a man of sorrows, and acquainted with grief. Surely He hath borne our griefs, and carried our sorrows. He was wounded for our transgressions. He was bruised for our iniquities: The chastisement of our peace was upon Him.”
Isaiah 53:3-5


He is a man despised.
His mottled tan is dirt and grime,
No time or place to wash his face,
He squats over sewer caps and hopes to bathe in warming steam,
His dreams lie deep within the seams of his tattered coat.

He is the rejected lady of many paper bags,
Filled with abandoned treasures stuffed between their
Knotted handles. She roams the streets, her bags in hand.
She seeks a bench to spend the night. She dreams
Of lighter loads, less cold tomorrows.

Despised by his father, awash in drugs and alcohol,
Rejected by his mother, uninterested in what her womb has borne,
His hands flail empty air, in a vain attempt to grasp
For love in a world gone cold. His soul,
Like fingers through his matted hair,
Is wracked with thoughts of loathing and despair.
He is the teenage boy, Emanuel.
His body sits on the cold concrete
Of an abandoned alleyway. His only toy,
The needle he will stick into his forearm.
His only blanket, the cold silver stars of a deep black night.

He is the Promised One.
The Son of all the hopes we have
For our redemption. And yet,
We turn our head in thinly veiled disgust
When he is thrust into our sight.
His body bears the bites of the cold angels
Of our indifference.

Why do we fail to see that he’s in pain,
And naked, right before our very eyes?
We should be sheltering him.
He should be fed
To still the hunger he has for our love,
For he was born and bred
Right here on earth,
Yet suffers still
Within this house of Bread.

Saturday, January 16, 2010

The Conversation Continues ... The Triptych of the Lamb


When I first started this blog, I labeled it as a conversation on poetry. However, the last few days seem to be more prosaic, and not much of a conversation. It was my intention of posting a new poem each day in an effort to get into the habit of writing poetry each day, and welcoming feedback on what I had written. Well, I soon found out that working full-time doesn't leave a lot of time to write poetry on a daily basis. It is far easier to write about my thoughts in prose. While this was not the original intention of the blog, it keeps me writing, and hopefully will provide me with ideas for new poetry in the future. And one of the problems with the "conversation" part is that it takes at least two to have one. And, so far, I seem to be talking to myself. I kind of feel like Will Smith in the movie, "I Am Legend." In case you haven't seen this movie, it takes place in a New York totally empty of people, at least sane ones, with the exception of Will Smith, who tries to make a life in a city, alone. Yes, that is certainly what this conversation feels like. But I can't account for the participation of others, just my own part in it. So I will continue to talk about the things that impact me each day, and offer some of my poetry up for comment. And hope that the "comment" part comes along sooner or later.

One of my poetic efforts has to do with a three part poem I wrote a little over a year ago, and have been going back to it from time to time ever since. I have not offered it for publication before, and there have been only a few poets I have shown pieces of it to. I think though that the time to "air" it might be now. It was written as a "Christmas" poem of a very different type. Inspired by two entirely different sources, the first being Handel's Messiah and the other, our seemed indifference to the plight of those in need at a time of year that brings to mind carols, decorated trees, beautifully wrapped presents, holiday decorations and holiday feasts rather than the poor, the homeless and the suffering. Yes, I know what you might say, we give to charity more at this time of year than at other times. That's true. What I observed though was that most people would rather drop a copper in the pot of a Salvation Army Santa ringing a bell outside of the stores we go to buy our presents, then to actually look at the recipients of our largess face-to-face. For some reason, that Christmas season, more than any other before, brought this issue to me in living color. So I wrote these three poems and called them, collectively, The Triptych of the Lamb.

First, let me share with you the definition and purpose of a triptych in medieval art, and then explain how I adapted it to poetry. I have also included a picture at the top of this post called "The Weyden Crucifixion Triptych."

A triptych (pronounced /ˈtrɪptɪk/ TRIP-tik, from the Greek τρίπτυχο, from tri- "three" + ptychē "fold") is a work of art (usually a panel painting) which is divided into three sections, or three carved panels which are hinged together and folded. The middle panel is typically the largest and it is flanked by two smaller related works, although there are triptyches of equal-sized panels. (From Wikipedia, the free encyclopedia)

As I said, my inspiration came from two sources. The first, Handel's Messiah is composed of Biblical quotes from the Old and New Testament that prefigure the purpose of Christ's birth and death. The second was from my own experiences. I have met bag ladies and homeless men much like the two I describe in this poem. The seventeen year old young man is really two young people I have known. One is blessedly still alive and is doing better than he once was. The other, tragically, died in exactly the manner the young man in the poem did.

Some might think that comparing Jesus Christ to a seventeen year old heroin addict is close to blasphemous. However, the one New Testament quote, from Matthew, that I use to tie this all together, explains why I made that choice. “Lord when did we see you hungry or thirsty or a stranger or naked or sick or in prison, and did not minister to you?” Matthew 25: 44. Actually, while the second half of that quote is not included in this poem, it is this part of the quote that is the true message of this poem. "Whatsoever you do for the least of my brethren, that you do unto me."

I will post the first panel of this triptych tomorrow. I will post the other two panels on the following two days. I am hoping that these postings will open a conversation. At the very least, it will allow me to see what I have written more objectively than I have when I first wrote them, and maybe that objectivity will help me to make them better.

Friday, January 15, 2010

Where Am I Going?


Do we ask ourselves this question every morning? Where am I going? Is it a job that seems to lack necessity, except that it pays the rent, puts food on the table and provides somewhere to go to kill the time? Is it a relationship that has grown stale, or is going nowhere? Each and every morning, does it seem that we take our first step onto a bridge to nowhere? Some live their life like that day after day, after day. What a waste of a life.

I have been very lucky. Or very smart. I have had a vocation and a few careers in my lifetime so far. I have always enjoyed my careers, whether it was being assistant curator of a Russian art museum, a director of planning for a YMCA, a director of marketing and advertising for a credit union or a lobbyist for human rights in Eastern Europe. But my vocation, my first love and the largest part of my working life, forty years, have been that of a teacher, an educator, a caretaker of young minds. It is to this vocation that I have dedicated the vast majority of my time, my efforts, my life and my love. And it has returned the favor. I have been well rewarded.

When I was a second year teacher of twenty-three years old, a mother introduced her younger child to me at a church function. I spoke to him for a while, then tousled his blond hair and told him I'd see him in the classroom in a few years. As I walked away, I heard her say to the boy, "You've been touched by a teacher. You will be smart." I never met him in my classroom, but have tried to live up to the expectations of that mother for forty years with every child I've taught. I haven't always liked them all, but I have loved every one of them and did all that I could to guide them to successful lives.

But now, as I prepare to leave this vocation that has been so good to me in my life, as I prepare to put my foot on the bridge that lies before me over the stream of change, I wonder where it will lead me. Certainly not to nowhere. I will not allow that. But to where? And what will I see when I get there? My guess is that we all cross that bridge each day. As far as what I will see, and where it will take me, I think is up to me.

Thursday, January 14, 2010

A Thing of Beauty ...


I have been including a picture in the beginning of each post. In my travels on the Internet, I have been amazed by the beauty of the photography posted there. In fact, I am amazed by beauty itself. In any form it takes. And we humans have diverse ways of sensing beauty. The sweet scent of lily of the valley, roses, lilacs, fill the nose with beauty in spring and summer. The crisp scent of apples, the acrid scent of burning leaves in the fall. Or, at this time of year, the fresh scent of fresh-cut evergreen. The scent of the onset of snow.

The ear seems not to believe the magnificence of a Beethoven symphony, the intrigue in a Mozart sonata, or the quiet dignity of a Faure pavan. Or just the simple beauty of the scraping of bare limbs against a windowpane, the muffled richness of sleigh bells on a snowy winter night, or the innocent laugh of a child.

The eye marvels at the flame in a Turner landscape, the fog of a Monet harbor or the reflection in a still Monet pool. The rich burnt gold of an autumn sunset, the orange round of a harvest moon or the icy stillness of a winter one. The flickering shapes of figures in an El Greco painting, writhing as if in dance.

Run your fingertips over aged brick, the fuzzy throat of a bearded iris, the smooth flesh of the hollow at the small of a lover's back. Then try to describe it. Hard, isn't it?

An old saying states that a picture is worth a thousand words. But, as the next lyric of the song says "Then why can't I paint you?" Maybe it isn't the amount of words that paints the picture, but the choice of them. And the sound of them. And again I work my way back to poetry.

One night, I tried to paint such a picture, not of a winter evening in Central Park, but a winter evening in Eatontown, New Jersey. I have tried and tried again to capture the beauty of nature, not on film, but on paper. It is a labor of love, and a labor of a lifetime. Each time I try to capture a season or a scene, words seem to fall short. But writers keep on trying. And so will I.

Winter Comfort
Christopher Bogart

As if by magic,
They appear -
Fluffy white,
And drifting down
From the deep black night
Of the winter sky,
Only to fall soundlessly,
As they gather on the ground below.

The muffled crunch of rubber tires
Punctuate the stillness of the night,
Impressing the road with treaded tracks
In the softly fallen snow.

The world of the suburban night
Slowly becomes blanketed
In the cold wet cotton
Of the winter sky.

Listen!
You can almost hear
Falling flakes
As they race,
Helter-skelter,
To their place on the ground.

Soon the world
Is enveloped in silence,
Enfolded
In the dark thick walls
Of night.

Hush then!
Drift into dreams,
Enfolded in soft cotton seams,
Enveloped warmth in comforter and down,
As the quickly falling snow
Tumbles to the ground,
Blanketing the land
Without a sound.

Wednesday, January 13, 2010

Excuses, Excuses, Excuses.


I've be kind of cheating the last couple of nights. I have been using some of my recently-written poetry instead of creating original work. I promised that I'd write every night, but sometimes that just isn't possible. I am still working full-time and have a number of other obligations, but that is no real excuse. Someone once told me that if something was really important, to make time for it. They were right. I need to make time to write. To set the time aside, and to do nothing but write during that time. But sometimes there are other temptations. NCIS on TV, for one. A lame excuse, I know, but a temptation, none the less.

Sometimes I just feel empty. No thoughts. No ideas. Nothing to say. Some people would call that "writer's block." A fellow poet once told me that there is no such thing as writer's block. When someone claims to have writer's block, they are just trying to write a final draft on the first shot. I agree with him. Sometimes we writers (after the last few days, I use that title loosely) want to produce a masterpiece on the first try. I guess a lot of people believe the story of Shakespeare writing all of his plays "without blotting a line." (For those of you reading this that are younger than I, you can only "blot" a line if you are writing in ink with a fountain pen or a quill). Envy, I guess, is a green-eyed monster. Well, I don't believe that story. I do believe that Shakespeare (and Milton, and Mozart, and Brahms, and Bach) and a great many other writers and composers were geniuses, but that they had to work hard to use that genius to produce masterpieces. Creating a masterpiece takes hard work.

And what I am doing tonight is far from that process. I am just trying to keep my promise to myself (and possibly my readers, if they exist). It's simple. To be a good writer, you have to keep writing. However, this is tonight's offering. I am adding a pretty picture so that, if you find tonight's offering meager, you have something to enjoy. So enjoy the picture. I'll be back to attempt the first draft of the masterpiece tomorrow night.

Tuesday, January 12, 2010

Each Far Field of Rye


Each Far Field of Rye
Christopher Bogart

When I look close at each far field of rye,
I see at once each tender husk,
each fine-haired light green oval seed,
perched atop each slender stalk, each
tied to each companion’s fate.

Brittle yet plaint to the wind’s will,
they rustle together in the thousands,
in the hundreds of thousands, in each far field,
so near now, one could gently touch
with just one finger tip
each stalk, each husk, each hair, or palm,
each wave in the breathing nature of autumn’s air.

And, as I place my foot upon the rutted road
to load the wagon at the end of day,
I hear the rustle of those far fields of rye,
and, in their gentle tunes, I travel on my way.

Monday, January 11, 2010

He hides like the moon


He hides like the moon
Christopher Bogart

He hides like the moon
behind cast iron clouds. This

Cantaloupe of a boy,
so round and pale,

Plays hide and seek,
slipping silently,

Threading through ebony, there
to spy on those of us,

Whose hiding place, so far below
upon the midnight ground,

Are left in wonder,
waiting to be found.

Sunday, January 10, 2010

War Games



I started this blog to commit myself to write every day. A noble goal. However, sometimes I am not sure of what to write about. Today was one of those days. However, when I saw this picture, I experienced a bright flashback of a memory of a time of day, a place and a season that looked just like the picture. I was a sophomore in high school in 1961. For the first three years of high school, I lived in a seminary (we called it a Juniorate), studying to be a Brother of the Sacred Heart. St. Joseph's Juniorate was on a 78 acre plot of land on Plainfield Avenue on the side of a railroad track in Metuchen, New Jersey. (It is now St. Joseph's High School.) The entrance to the Juniorate was two long roads lined with huge tulip trees and led to the main house, a light brown structure with two brick wings. The left wing housed the chapel, the right wing, classrooms, dining room and kitchen, and dormitory on the third floor. The older structure that linked these two brick buildings housed the brothers and the novices. There was also a farm, barn, cemetery, basketball courts, sports fields, and open field leading to a pond at the back of the property. On the left side was a pine alley, a vineyard and an apple orchard. It was behind this apple orchard that a stream ran from the front to the back of the property.

In the winter, when the ground was covered with snow, we would go into these woods behind the apple orchard and build snow forts on both banks of the stream. When they were built, we played "capture the flag" until the sun set in the west. These games were raucous and filled the woods with testosterone and laughter. In order to capture the flag, we had to ford the stream to get to the enemy fort. And we had to do this under a hail of snowballs from the enemy fort. Many was time that one or more of us ended up sliding down the bank and into the frozen stream and forced to walk back to the house at sunset, drenched through to the skin and freezing cold. And that is what this picture reminded me of tonight. A game in the snow when I was but fifteen years of age and careless of time and tide. A game played almost fifty years ago.

Saturday, January 9, 2010

Re-Tire


Interesting word, that word "retire." Is it about sunrises, or sunsets? The dictionary defines it as "withdraw," as in to go back or get off the field. And, I think, that when people contemplate retirement, they wonder what happens when you leave that field, when you are no longer in the game. There is a guy down the street from me that is retired and every morning in the summer he takes out an aluminum folding chair, unfolds it on the asphalt of the driveway, and sits there most of the day, watching the cars go by. I've gotta tell you, if that's retirement, I think that I'll forget the chair and just go and play in the traffic.

A few of my fellow teachers have barely made it to retirement, or died before they could leave the field. There are some who have retired, then don't know what to do with themselves. They usually tutor, substitute or find another school to teach in, either part or full time and wonder why they left the field. I look at these people, my coworkers for so many years, and wonder what I should do.

I just turned sixty-four a few days ago, and, at the end of this year, will be eligible for retirement. There is not a day that goes by that I don't think about that fact and wonder what I should do. If I did retire, between my pension and partial social security, I would be bringing more money home than I would if I continued to work. Financially, retirement would seem to be a sound fiscal decision for me. Many of my coworkers have encouraged me to stay, and not think about leaving the field just now. They say that I have a lot of good professional years left in me, and they are probably right. A number of students have been trying to talk me out of making this decision because I had taught their brothers and sisters (or, in some cases, their fathers and mothers) and they wanted to take my class too. While that is very flattering and makes the decision more difficult, I am reminded of Rudolf Bing, the head of the NYC Metropolitan Opera House, who said, when they asked him why he was retiring, "Better to retire when they are applauding, then for them to applaud that you retire." He has a good point. So did my father, when he used to tell me how unwise it is "to stay too long at the fair."

From day to day, many of my former students come back to see me or call me. Some of these people are in their 30's, 40's or 50's (my oldest former student will turn 60 this year. I was a child when I started teaching.) I look at them and strain, as memory fades, to remember with the same vivid detail, our relationship when they were children. Sometimes it is more difficult for me to remember than, it seems, for them. Sometimes I remember more than they do. They have meant, and still mean, a great deal to me, as they have been like my children, only they are in the thousands. And I am reminded of the last lines of the book, Goodbye, Mr. Chips, a book I used to read the last week of every August before I began each school year. At the end of the story, Mr. Chipping, an English school teacher who had taught for years in an boys private school, is dying of old age. He is surrounded by some of his former students, all adults now. They were commenting how, in all of these years, he had never had any children. "I thought I heard you one of you say that it was a pity I never had any children." He interjected from his deathbed. "But I have, you know. I have. Thousands of them ... and all of them boys." I have been lucky. I have had a great forty year educational career. So is retirement the sunset of that career?

Or maybe, is it the sunrise of another. As I look back on that word again, "retire," I wonder whether we are just misspelling the word. Maybe it refers to removing the old, bald tires on the vehicle of your life, and putting on new ones, tires with good tread for many more journeys, many more adventures, many more experiences over many more years. And with the time, God willing, there will be much more to learn on different roads with each new sunrise.

Thursday, January 7, 2010

When Did I Grow Up?


Today is my birthday. I am sixty four years old at 11:00 pm tonight. As I look back at the last sixty-three years, I look back with the awe and amazement of younger eyes. I see what I have done, but don't know how I did it. How did I get Bruce Springsteen to donate enough money to keep the Shore Area YMCA open for another 10 years? How did that one act place me in almost every major newspaper in the nation, and a few in Europe and Asia? How did I curate a Russian art museum, run exhibits for artists that were at the vanguard of their time, sit with Alexander Ginsberg, one of Russia's most famous dissenents, and watch the play, Zeks, a play about his life? How did I get to meet Dr. Martin Luther King, Jr. and Senator Edward Kennedy? How did I teach for almost 40 years? How did I get to be invited to Oxford University to present a paper on education? When I tell my students some of these stories, they look at me in wide-eyed disbelief. I can barely believe them myself.

On this day in my life, I look back at those sixty-three years, not with the wise eyes of a sixty-four year old man who understands, but with the wide eyes of an eight year old boy, vulnerable, afraid, alone, and looking at the achievements of a man he can barely believe is he. As I look now down this alley I have traveled all these years, I cannot stop to wonder. I just have to keep walking.

Wednesday, January 6, 2010

A Lifelike Dream


On August 1, 2005 at 8:30 in the morning at the Oxford Union on the campus of Oxford University, I got the opportunity of a lifetime to present a paper I had written, entitled "Beyond Reading 1st: The Teaching of Reading and Writing" to a group of 44 educators from all over the United States. This paper, and the concluding statement, summed up everything I had learned about teaching over an almost forty year career. As I stood in that Debate Hall, I realized the significance of this event in my life. Three years before, I had had a dream one night that I was in England teaching British students literature on redwood picnic tables outside an old building. As I entered that Union building on that day, I passed the picnic tables in my dreams. The whole experience seemed to me to be a waking dream. But I was really there. In my concluding statement to the presentation, I tried to tie all of what I was thinking and feeling together to present it to fellow educators, and to tell them that I understood the importance of the moment. This is what I said:

“Now I want to tell you about my second dream, a waking dream.
My father was a sailor on a minesweeper in the invasion of Normandy. He was stationed here in England, in Torquay, during the rest of the World War II. When he returned to the United States after the war, he had no job. We lived for four years in temporary military housing on Jamaica Bay in Brooklyn, and then in a NYC public housing project for the next seven years until we could afford to buy a house in New Jersey. When I looked out the windows of the projects, I saw asphalt and concrete. However, my worlds were not the brick buildings and streets of the projects. My worlds were the London of Charles Dickens and Sherlock Holmes, the Sherwood Forest of Robin Hood, the Stratford and London of William Shakespeare, the Camelot of King Arthur, the Sahara sands of Percival Christopher Wren, and the high seas of Kidnapped and Captains Courageous. Later they became the English country manors of Mr. Pickwick, Sam Weller, Tom Jones and Joseph Andrews, the solitude of Tintern Abbey and the fields of the Lake District. I roamed the moors with Pip and Joe Gargery, with Cathy and Heathcliffe, and with Holmes and Watson in pursuit of the hound of the Baskervilles. I plied the Mississippi with Huck Finn and Jim. And I too returned to Hogwarts (which looks surprisingly like Oxford) every two or three years with Ron, Hermione and Harry Potter. These books allowed me, as a child, to search for who I was and who I could be.
It is time for this literature to leave the dusty glass under which it resides as the private preserve of the few and take its rightful place as the birthright of all of our children. It will allow them too to dream of worlds more noble and heroic than the ones they presently inhabit. It will finally allow them to share my dream.
It is because of these books and the invitation of The Oxford Round Table that today, I have fulfilled that dream.”


As I looked out at these educators arrayed around me in a horseshoe, I wondered if they felt the same way I did. I didn't know, but I hoped they did. It was a great feeling. Later, I wrote a poem about the experience.

Oxford Dreams
Christopher Bogart

Two broad spreading trees
Stand calmly –
Their leafy arms extended,
Hand-holding,
And gathering to themselves
Stone buildings,
Stained
By tenure and still time.

Faded wooden benches
Scatter round the ground
Below the trees…
These learning trees…
Where once, in a dream,
I taught English literature to English lads –
An American
In an English dream…
That seems
So very long ago.

Now, in a new dream,
I sit on these same benches
Of faded and fading wood
Surrounded by stone rooms,
The libraries of aging books in towering cases
Walling in the groaning,
Sagging,
Buffed green leather of overstuffed chairs,
There not to protect
But to persuade,
Nascent readers with the wide world
Contained for now
In their soft calf-skin bindings.

Light,
Like Enlightenment
Invades
Through panes of leaded glass –
Clear glass,
Stained glass…
Soft light
That drifts to the aged oaken floors
Below their pains.

I wonder if by now I
Can finally see
Through this thick glass,
Stained once by the crimson drops of my own fears
To the life on the other side
Of this life -
Like dream.