Find below evidence of my growing web-savviness in the Regina Spektor live performance of “Samson” I found on YouTube:
The quality leaves a bit to be desired, but I opted for this bootleg over both the music video (which is ok) and the produced live version from a music festival in April. I found this more real somehow. Whatever that means. If you like the song, you can get it here.
Also, DawgE will live! She is without parasites or any real health problems. She had some gland issues that needed to be flushed out. And I should tell you that I did not enjoy putting a headlock on the poor girl as the vet swabbed out her rectal cavity with two well-lubed fingers. The dirty look afterwards, however, was masterfully expressive. Who needs language when you have daggers like hers? Plus, I got shunned for a few hours afterwards. We’re good now, though, thanks to a treat and a long morning run.
That’s about all on the odds and ends front. As for today’s poem, it’s a piece from Yusef Komunyakaa’s Talking Dirty to the Gods. A brief bio on Komunyakaa can be found here. Though this is not the poem I wanted to post, it’s a strong piece worth the time to examine. The book is taut, and Komunyakaa imposes a systematic design to both the form and organization of the individual pieces within the collection. Each poem is four quatrains long, which adds a cohesion and a design befitting the abundance of gods, goddesses, and the geometry of nature the poems tackle. Here’s the bibliographic information:
Komunyakaa, Yusef. Talking Dirty to the Gods. New York: Farrar, Straus and Giroux, 2000.
And here’s the piece:
Body of a Dog
(Cadavere di un Cane)
He’s chasing a hare.
In eleven or twelve countries
The philosophy of the hourglass
Has turned into weathered stone,
But he races the same sun
Through threadbare silhouettes.
If there were human prayers
Left, they wouldn’t reach him
In Vulcan’s dream come true.
Did he know when vicissitude
Eased over hills like mist or scent
Of a bitch? Given another month,
He would have made the boy
Into a very good master.
He’s treed his own ghost
In a nearby poppy field.
With “Body of a Dog,” I think we’re being asked to confront our transitory existence on earth. Referring to the “philosophy of the hourglass,” “Vulcan’s dream” and closing with the surreal and vivid image of the dog in the “poppy field,” Komunyakaa uses the ethereal and lofty connotations in philosophy, dreams, and poppies to contrast against the penultimate sentence, which spans the end of the third stanza into the first line of the fourth and helps us realize more clearly the importance of the hourglass in the first stanza. If the dog were given that month, things would have been different. In essence, it’s potential unrealized. Time had run out for the dog (and the boy, too, in a different way), and as it is those plans are left unfulfilled.
As always, there’s plenty more to say, but I will shut it here. Feel free to drop your own thoughts on the piece or question mine.