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Shucks! – I guess the 2017 litterachur Nobel is going to go to Bono

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But I’m energized – Big League – at least it’s going to someone who actually understands the difference between sovereignty and totalitarianism…

Well, shit, if you think I’m wrong about it – the laddy said it right here. I quote unquote quote:

“Edited clips of Trump replied: “I will build a great, great wall on our southern border and I will have Mexico pay for that well.”
“A wall? Like the Berlin Wall? Like the Great Wall of China?” Bono, a donor to the Clinton Global Initiative, shot back to the video screen.”

Well, let me uncling mesself from thissere gun, religion and God type-a-thing before I continue. [Sipping at a cold one now, hold on…]

Well, shit, what I mean to say is, hell and hard nuts, America is so tired of thissere electionation process… Oh, hell, let’s just all go home and hope that we have jobs come Monday… I’ll buy the keg (Quinn, can I borrow 40 bucks? The Hamms is on sale…)

Well, as I look out at this wonderful U Ass of A we gots usself here, I can’t help but thinks about that what which Bono’s countryman and fellow string-strummer once said, “That’tare ain’t no country for old menfolk…”

Well, Cormac, I guess you can be fixin your Nobel year to be—

Hell now, look at that, Mr. Tweedy, you made me spill my Blatz.

No, excuse me – EXCUSE ME, Mr. Tweedy, but we happen to got womenfolk in the audience just now, so you just you shut your jaw the fuck up, now you hear. I realize you got a grimace like a hound dog trying to pass a peach pit. But just heel now, y’hear? You’ll have your chance at the carcass after Cormac gets a gnaw!

Well, I guess that’s about alls I got to say – ummagonna end the conversation righ-chere.

Love and peace and I’m all with Her and all.

JOB

…and BOB goes Nobel!

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Sorry, Cormac, maybe next year.

Bob Dylan’s 3,500-year old relative

Musical Score from Ugarit (Clay tablet from Ugarit) with the Hurrian hymn, 13th cent. BC. Found in the collection of Musée du Louvre, Paris. Artist : Ugaritic Culture. (Photo by Fine Art Images/Heritage Images/Getty Images)

“How does it feel….?”

Another Poem about a Painter

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Young Bacchus, Bitten By A Lizard
It wasn’t just bad PR plus zero
support from Cesari—Amerighi lacked
self-control and a sense of tact
from the start. But, oh, the chiaroscuro!

Whan that Aprill, with his shoures soote

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The Official Poet of the Year of Mercy

What came in the mail

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Another cold spring again this year…

 

There must be more than this provincial life…

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Babylon

rivers of babylon

The rivers of Babylon rush and fall and sweep away.
O holy Sion, where all is firm and nothing falls!
We must sit upon the waters, not under them or in them but on them; and not standing but seated; being seated to be humble, and being above them to be secure. But we shall stand in the porches of Jerusalem.
Let us see if this pleasure is stable or transitory; if it pass away, it is a river of Babylon.
                         – Pascal,
Pensees, 459.

It wasn’t much at first. A sagging step,
Exaggerated bend of knee, the way
She’d reach with fluid motion and then stop –

I even caught her once before the well,
The water’s calm the perfect reach and scope
For vanity to hold her gaze… When ill

She’d sit a lot and take her rest instead
Of work – my own affliction could not tell
Of Sara’s lesson: Abraham was dead

And God no longer talks to us in signs.
Tradition filled my mouth but weighed like lead
To trip my tongue. So she would sing the lines

Of David then: God, our king before time,
Hath wrought salvation…
Now my mind inclines
To all kinds of hints: so the steady flame

Within the temple’s precincts trembles at
The shadows. Brother priests do not esteem
My company. Still, incense rises, mute

As priests and fathers suffered Babylon:
Now I too wish to sing with strings and flute,
To dance with timbrel like the halcyon

Who swoops and dives above the river’s flow…
So God’s own messenger, who stood upon
The altar, was pleased to let this father know

He’d be waiting on the porch of Sion.

Storm Days

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                            for my father

The wind is in rare form tonight – all in –
The pine and the walnut are sent adrift
In darkness to wave-break the night, an ocean
Of sighs that have slashed autumn’s lines and left

The summer unmoored – grief enough, father,
To see in the porch light your fading shade
That time when the talk sat with ease. Whether
The hour of that someplace translated your staid

And passing years – whiskey conversed, earnest
As lyrics, the crisscross of legacy
That made my manhood. Then you taught, honest
As wages, how jib sails are cut to see
A weather gauge measure a typhoon sea
And signal words speak a level ballast.

John Barleycorn in Rags

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He is John, man in ragged overcoat
Long to withered knees
Manbeard made of clipped leaves and twigs

Man with face of rough bark
John who walks Saturday-night stupor
Through sibilant rings

Of maple, elm and linden leaves,
Swiftly satyr-dancing
Into crackling flower of fire

In peripatetic permutations, cough
Of dry staccato vespers, leaf to stone,
Each skeletal ballet whispers

He who is barrowed by mottled stile,
Stilled and waked in copper kettle,
Kegged and bunged for cooling cellar

In hoarse tones violent riots of autumn
Become seasonal rites trans-
Corporeal, quiet in slow burn

He is John of the demijohn
Bottle god of good folk,
Fanatic familiar of flagon, flask and firkin

His limber limbs are all consumed,
Sap-drunk as wasp and hornet
Dry and empty as cracked bobbin,

His spirit tumbles leaves down empty lanes
And empty well; he is spirit in wind,
He makes spirits from color, heat and motion

He is tall shoots and thick roots,
A shock of fruited stalks between
Breaks from his loamy scalp.

His anatomy taps boot heels,
Claps coarse palms. He, mate of dance,
Husband of hilarity, spouse of song.

Brittle brown leaves, fallen angels
Dancing down cold swift winds
Hymns that scrape, swirl and click

And always he must come along,
Always feed fire’s fermenting flower –
He empties nectar from his eye

He is John, and John must die.