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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>Hettie Jones</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>Hettie Jones</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Tuesday, July 01, 2014</span></h2>

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<a href="http://www.poets.org/poetsorg/poet/hettie-jones"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Hettie</span></a>
<a href="http://en.wikipedia.org/wiki/Hettie_Jones"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Jones</span></a></span></b></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/07/14_1.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-07-01T00:00:00-04:00'>Tuesday, July 01, 2014</abbr></a>
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<h2 class='date-header'><span>Tuesday, April 03, 2007</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><span style='color:black'><img height="235" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/-J0I0JDPvbngAWDMTzwPvInlCTn_bP0yDdHtD-LEzvDdgwR8eAjZImURYlGOa9DnPwuHQIkHVSmDEAsK38pmpz3p44j0Yy5yNIQuCQfvDA%3Ds0-d" width="288"><br>
</span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>(Photo by Larry Keenan)<o:p></o:p></span></i></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I&#8217;ll wager that I knew who <a href="http://www.womenofthebeat.org/HettieJones/HettieJones.htm"><span style='color:black'>Hettie</span></a> <a href="http://www.wooster.edu/artfuldodge/interviews/johnsonjones.htm"><span style='color:black'>Jones</span></a> was as an editor, and as a presence on the <st1:City w:st="on"><st1:place w:st="on">New York City</st1:place></st1:City> poetry scene, before I was 20 years old. So I find myself amazed to admit that it has actually taken me now 40 years to read a book of her poetry, the quite lively <i style='mso-bidi-font-style:normal'>Doing 70, </i>published by the redoubtable <a href="http://www.hangingloosepress.com/index.html"><span style='color:black'>Hanging Loose Press</span></a>. It&#8217;s like discovering a whole new <span class=SpellE>New</span> American poet. And with my roots and interests as a poet, that&#8217;s a considerable gift.<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>It&#8217;s not like the emergence not so long ago of Landis Everson, who was a marginal enough member of the Berkeley renaissance a half century back, but who has returned now in his later years as more postmodern writer, full of subtle shadings nobody would even have noticed back in the early 1950s. Nor is it like the big belated book, <i style='mso-bidi-font-style:normal'>A Tall, Serious Girl </i>by George Stanley, a long overdue selected poems by a major writer of the Spicer circle who was largely out-of-print in the U.S. after having moved to Canada some 40 years ago. No, <a href="http://www.poets.org/poet.php/prmPID/444"><span style='color:black'>Hettie Jones</span></a> is writing what are patently New American poems today almost in the same way that Michael McClure or Gary Snyder could be said to be doing the same, carrying forward that aesthetic from the 1950s to the present unbroken:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Here <span class=GramE>Is</span><br>
</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
<br>
a woman who know<br>
what here is, through<br>
<br>
long years of being<br>
here<br>
<br>
by a window that offers<br>
others, there<br>
<br>
<br>
<br>
here then is<br>
this woman<br>
<br>
ten thirty pm<br>
on April seven<br>
<br>
a struggling spring<br>
in two thousand six<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>These are clean, simple poems, never trying too hard, but not written out of any nostalgia for the &#8220;beat scene&#8221; of Jones&#8217; fabled youth either. When she says, in an interview given to Nancy Grace, that &#8220;</span><span style='font-size:10.0pt;font-family:Arial'>I was much too logical and much too old fashioned and much too linear&#8221; to be a language poet, she&#8217;s not putting them or herself down, simply placing herself in the larger universe of literary possibilities. But this doesn&#8217;t mean that she&#8217;s not capable of complex statements, done with both great precision &amp; notable grace, as in the poem &#8220;About Face&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>In Ghana, in August, in<br>
the Golden Tulip&#8217;s<br>
<span class=SpellE>Demba</span> Lounge<br>
<br>
Nat Cole sings<br>
&#8220;Merry Christmas&#8221;<br>
<br>
as lone white men<br>
on cell phones listen,<br>
some with evident<br>
nostalgia, to a black man<br>
singing of home<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Some remind me actually of the short lyrics of the late Carl <span class=SpellE>Rakosi</span>, ringing out <span class=GramE>changes, that,</span> while completely predictable, can be quite satisfying simply for the precision involved, as in &#8220;Shades&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>black</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> for the season<br>
blue for oh how I need<br>
<br>
this gray afternoon<br>
when the drummer at the green<br>
subway kiosk<br>
is<br>
red hot<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Many of the poems are explicit in their feminism &#8211; an attitude that I suspect would have made The Boys of 1955 &amp; thereabouts more than a little anxious &amp; <a href="http://jacketmagazine.com/31/duplessis-manhood.html"><span style='color:black'>perhaps even dismissive</span></a> &#8211; but it isn&#8217;t the simplistic finger-wagging of a Denise <span class=SpellE>Levertov</span> that Jones is after (tho one could argue that that was needed some three dozen years ago). Rather, what one notes about its presence in Jones&#8217; work is the absolute variety of possibilities that come up with this as a subtext, ranging from the utterly grim, such as a poem about a Turkish woman stoned to the edge of death for &#8220;having sex / or being raped, same shame&#8221; who hangs for three months before dying, or of a female soldier killed in one of Bush&#8217;s wars, to poems that are simply, or not so simply, celebrations. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>One of the more interesting examples of this can be found in the title poem, a not-quite six page narrative of having one&#8217;s car break down on the way back from Boston&#185;, only to have the trucker from the AAA-plus card (which gets you towed back where you need to be, not just five miles to the nearest rip-off station) turn out to be an engaging boy (Jones guesses his age at 23) who&#8217;s been to New York City only a couple of times before. Of course Jones was doing 70 on the Mass Turnpike when her starter broke &#8211; and of course just turned seventy a few weeks before &#8211; so what ensues is a complete gender reversal of <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2007/03/venus-film-for-which-peter-otoole.html"><span style='color:black'>the dynamics I outlined awhile back</span></a> in the Peter O&#8217;Toole flick <i style='mso-bidi-font-style:normal'>Venus. </i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>So this is a case of the New American poetry doing something, with a few notable exceptions, the New American poetry itself seldom did. And it&#8217;s a pleasure to see it, because it is so clearly <i style='mso-bidi-font-style:normal'>not </i>imitation anything. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I want to close with a poem of Jones&#8217; that caught my eye, &#8220;Naming Hettie Slocum,&#8221; perhaps because the house right next to the monument to Joshua Slocum on Brier Island off the southwestern tip of Nova Scotia (where Slocum was born, tho he did much of his sailing from Olson&#8217;s Gloucester) belongs to Krishna&#8217;s cousin, Dan Hunt. Given that my own side of the family has its own sailing mythology (thanks to my maternal great grandfather telling everyone that his grandfather was Sir John Franklin, which was right only insofar as that was the grand-dad&#8217;s name, tho he was an illiterate fishmonger, not the arctic explorer), this seems too good a coincidence to let pass. But I don&#8217;t think this poem needs any further comment from me. Hettie Jones does just fine:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Hettie Slocum once went<br>
halfway around the world and back<br>
in a sailboat. Then she gave up<br>
the nautical life for good<br>
and took off to farm<br>
<br>
leaving her husband, Captain Joshua<span class=GramE>,</span><br>
the well-known navigator-storyteller,<br>
to the heave and swell of that vast<br>
and wily mother, the sea.<br>
<br>
Hettie was a pretty seamstress<span class=GramE>,</span><br>
twenty-four and fresh from <st1:State w:st="on"><st1:place w:st="on">Nova   Scotia</st1:place></st1:State>;<br>
Slocum, a cousin, forty-two and lonely.<br>
His first wife, love of his life, mother<br>
of his sons, had died. It was 1886.<br>
<br>
Hettie was game; she sewed Slocum&#8217;s sails<br>
cruised with him and the boys<br>
to <st1:place w:st="on">Rio</st1:place>, bought a tall hat, survived<br>
an epidemic. He wrote a book<br>
about their adventures, called her<br>
<br>
his wife, called her &#8220;brave enough to face<br>
the worst storms&#8221; &#8211; but never once mentioned<br>
her name. Let us then remember her: Hettie!<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Hettie Slocum!<br>
<br>   
Now all is said and done.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; Carrying with her the correspondence, no less, of the late Helene Dorn, the literal purpose of this trip.</span></span><span style='font-size:8.0pt;font-family:Arial;color:black'> <o:p></o:p></span></p>
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