Wednesday, December 21, 2016

WORLD WIDE WORDS #752



View-Master, 1939 World's Fair Model

















  1. Transaction ::  Analysis

  2. Green :: Sleeves 

  3. Let’s roll ::  Mardi Gras (laissez les bon temps) 

  4. Corporation ::  Greed

  5. View ::  Master

  6. Help ::  Me, Rhonda 

  7. Massive ::  Monolithic

  8. Format ::  Paper

  9. Wife :: Widow

  10. Screen ::  Japanese

    I always loved these "World Wide Words" and forget why I stopped pairing them. I loved View-Masters, too, with their clickclicketyclick worlds and captions.  I wonder if I could write a real poem about the View-Master and its reels, seven photos in pairs (a fortnight compressed), a stereoscope for the post-flapper age (1939 World's Fair, I believe).  An old View-Master may have been the first piece of Bakelite I ever held. 
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Monday, December 12, 2016

"Cirque d'Hiver": Bishop and Vogue

"Vogue" Ballerina on Horse Statue at The Condé Nast Store

Is there a link between this photograph and Bishop's poem? The photograph was published in the December 15, 1937 issue of Vogue. Bishop's "Cirque d'Hiver" was published in the New Yorker on January 27, 1940.

 I have a mind of winter, am interested in the dressage of formal poetry, and sometimes feel the big tin key that runs through me, as well. Anagrams/synonyms of pamela--am pale/I'm pale/impale.



Cirque D’Hiver - Elizabeth Bishop

Across the floor flits the mechanical toy,
fit for a king of several centuries back.
A little circus horse with real white hair.
His eyes are glossy black.
He bears a little dancer on his back.

She stands upon her toes and turns and turns.
A slanting spray of artificial roses
is stitched across her skirt and tinsel bodice.
Above her head she poses
another spray of artificial roses.

His mane and tail are straight from Chirico.
He has a formal, melancholy soul.
He feels her pink toes dangle toward his back
along the little pole
that pierces both her body and her soul

and goes through his, and reappears below,
under his belly, as a big tin key.
He canters three steps, then he makes a bow,
canters again, bows on one knee,
canters, then clicks and stops, and looks at me.

The dancer, by this time, has turned her back.
He is the more intelligent by far.
Facing each other rather desperately—
his eye is like a star—
we stare and say, “Well, we have come this far.”

Sunday, December 11, 2016

AHR-TIK-YUH-LEY-SHUHN


Some notes on organic form with node and internode:

ARTICULATION:

noun
1.
an act or the process of articulating: the articulation of a form; the articulation of a new thought.

2.
Phonetics .
a.
the act or process of articulating speech.
b.
the adjustments and movements of speech organs involved in pronouncing a particular sound, taken as a whole.
c.
any one of these adjustments and movements.
d.
any speech sound, especially a consonant.

3.
the act of jointing.

4.
a jointed state or formation; a joint.

5.
Botany .
a.
a joint or place between two parts where separation may take place spontaneously, as at the point of attachment of a leaf.
b.
a node in a stem, or the space between two nodes.
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Q. If poetry is the act or process of form, thought, and sound, does the botanical idea of node and space between new nodes apply to stanzaic form?


A. It does to me. Stanzaic structure ought to be organic, but how? It depends on the organism...

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