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14inktober

Here is a bit of wordless storytelling. The viewer is not given a whole lot to go on, and what there is is strange. There seems to be sadness and perhaps resignation. The title hints that the venue is not Planet Earth. There are odd juxtaposes and transparencies.

Pop quiz, class: What’s the story here? Any answer at all will do. If you think of a story that makes the image make sense, give yourself a gold star and an A. For extra credit, post your story in the Comments section . . . and if there are at least six comments, I will add mine. No pressure, though!

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Here is the “final” version of “buster browne,” my acrostic homage to Jackson Browne. I put “final” in quotes because I had intended to make this an oil pastel, and I may yet, when I am sure I will not ruin it. I refer you to Part 1 for a clue as to how shaky my proficiency with oil pastel is. This drawing has nuances that I cannot yet transcribe into that more difficult medium; but I see nothing wrong with glorious black and white, for now.

The title/acrostic is “buster browne” both for the irony of the reference to the shoe spokesboy Buster Brown and for my admiration for certain of Browne’s songs, in particular “Lives in the Balance,” wherein he calls to account (busts) the Reagan Administration and its shenanigans in Central America. “Lives in the Balance” is equally applicable to other misdeeds worldwide, with passages like this:

In the radio talk shows and TV
You hear one thing again and again
How the USA stands for Freedom
And we come to the aid of a friend.
But who are the ones that we call our friends?
These governments killing their own?
Or the people who find they can’t take any more
And they pick up a gun
Or a brick
Or a stone . . .

Browne is deservedly in the Songwriter’s Hall of Fame. He has solid songs in each of five consecutive decades. A year ago January I recited “For a Dancer” in its entirety, from memory, at a poetry event after the death of my beloved friend Karen Wilkinson. Here is its finish:

Keep a fire for the human race
Let your prayers go drifting into space
You never know what will be coming round . . .
Perhaps a better world is drawing near
Just as easily it could all disappear
Along with whatever meaning we may have found . . .
Don’t let the uncertainly turn you around–

( The world keeps turning round and round)

Go on and make a joyful sound!

Into a dancer you have grown
From a seed somebody else has thrown;
Go on ahead and throw some seeds of your own,
And some time between
The time you arrive
And the time you go
May lie a reason you were alive,
But you’ll never know . . .

Browne could be a bit of a rascal, too, with sexual innuendo. Try on his song “Red Neck Friend” and see where it gets you. And his song “Rosie,” about a sound man who lost a girl to the drummer of the band, has this chorus:

But, Rosie, you’re all right (you wear my ring)
When you hold me tight (Rosie, that’s my thing)
When you turn off the light (I got to hand it to me . . .)
Looks like it’s me and you again tonight,
Rosie.

And that is why in my drawing, in the background sub-portrait, I have Jackson Browne sporting a halo that also puts bunny ears, or devil’s horns, on him.

Here are the words, which refer to his songs “The Pretender,” “Walking Slow,” “For Everyman,” and “Running on Empty.”

buster browne

bitterness of brew and herb
urgency!!! dissolve and stir
some pretender? we dunno
though he takes his walking slow
every man ought say it plain
runs on empty keep us sane

*****

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Here is a rough cut of the illustrated version of my poem “come love me.” In Part 2 I intend to have a less sketchy illustration and a more calligraphic transcription, and I am also thinking of writing variations and additional stanzas. But as of now the words are these:

come love me

come love me said the blinking text
come play with fire come share my bed
we will disrobe and do what’s next
with no regrets and nothing said

come love me he replied at last
we’ll dine on scones & tea & such
our eyes will meet our souls hold fast
our hopes will mix our psyches touch

come love me now and bring your trust
her answer came ten minutes hence
we will be naked as we must
our lust become our testaments

come love me if you dare he wrote
we’ll shed our bodies get our bliss
we need no flesh to cross the moat
nor lips to frame the perfect kiss

an hour passed
two hours

ten

the silence s t r e t c h e d and
too
despair

they sought a love
had never been

they wanted something

was

.

not

.

.

there

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I’ve spent the last few days in an off-and-on Jackson Browne immersion. Mostly this is due to some advice I solicited from my good friend and Confidante, Genevieve L, asking her for thematic input on my last few posts leading to Blog Post #1000. Among her many wonderful suggestions was to concentrate on a famous person.

So here we are with Clyde Jackson Browne. He has been in the American-Music Group Mind for more than 40 years. Bruce Springsteen, inducting him into the Rock&Roll Hall of Fame, referred to Browne’s landmark LATE FOR THE SKY album as “America’s Paradise Lost.”

This being Part I, I will just add that from here to #1000 I intend to splice the finished image/text of a given Part 2 to the next installment’s Part 1. The next post will be titled “BB(p2)/come love me (part 1).” My Part 2s will be polished and complete; my Part 1s will be raw and exploratory.

Back in a week or so . . .

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This second exercise did not take long, I having learned from the first that simpler is better. I’m also learning that it’s not necessary to grind the pastel into the paper as if it were spackle into a wall. And going from the inside out seems to be better than outside-in.

THANK YOU!!! for your kindly attention.

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Here’s a couple of hours of work, and a couple of baby steps toward the hundred-mile goal of Oil Pastel mastery. I remember sensei Darlene Goto’s words on a blackboard, more than forty years ago: ART IS WORK!! It is if you’re serious about it.

Here is something that is and is not a work in progress. It is not good as is, but there is a revolutionary artwork implied in it; the trouble is that its proper expression would require about a month’s work. So here is yet another one waiting for me to retire . . .

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Words:

Born & bred in angry squalor/raised expecting even smaller /eking pennies on the dollar/acrimony–CHAOS too/turns into hullabaloo/hashtag [#] Welcometothezoo/if the outcome makes us scream/need a strong liaise ur-beam/get our selves a better dream

What could be revolutionary, and is implied, is the degree to which the.text may enhance the message. Note how one line “jumps ship” and usurps the end of the previous line. And with time and effort the words at the last of the poem may themselves give Breathing Room relief.

Will there ever be a 2.0? Time–and space–will tell.

And Fortune . . .

 

cantileverage with p & q

obfuscates the devil & his due

risking on one turn of pitch & toss

kidnaps will to chance & all is lost

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This poem has as its touchstone Rudyard Kipling’s lines from “IF–,” “If you can make one heap of all your winnings/And risk it on one turn of pitch and toss/And lose, and start again at your beginnings/And never breathe a word about your loss . . .” The whole thrust (implication intentional) of “IF–” is man-to-manly-man advice on how to conduct oneself. I committed the poem to memory more than twenty years ago, thinking it great. Today I think certain lines are keepers (“If you can dream, and not make dreams your master/If you can think, and not make thoughts your aim . . .”), yet other lines, such as the one my poem is based on, are problematic.

Is it a good and manly thing to risk all your winnings on one chancy outcome? Was it a good idea to acquire those winnings on chancy outcomes? Speaking as someone with a gambling addiction, for me the answer is No to both.

Just last week I felt myself at risk. I had a little extra money, and I heard Casino Arizona call my name. And an insidious rationalizing voice whispered in my ear that I could handle it now, being older and less manically spiky.

So what I did was tell a friend I was at risk. She listened, and wisely suspended judgment and refrained from instruction, though she said she felt like a bad friend for letting me go off to do whatever the hell I was going to do. (I had gotten to the point of renting a car to enable whatever-the-hell-I-was-going-to-doing.)

I put temptation aside, though, and used the car to have some fun with my daughter, first with breakfast at the Hideaway West, then to Castles-n-Coasters for pinball and vidgame fun, then to Samurai Comics, and lastly to her home to watch the first episode of Season Two of Netflix’s Daredevil. That evening I breathed a relief-sigh for having dodged another gambling bullet.

Now, why is the acrostic “cork quest” and not “pitch &toss”? Because this day’s card started with the drawing of a corkscrew. I liked that it looked a little like a deadly weapon; and it IS a deadly weapon, if used to unleash demons different from mine . . .

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Back in the mid-80s I was in a bowling league. I was the second-worst member of a five-person team. Our two best bowlers were not only very good, but also wise to the ways of bowling-league success and, most vital to the discussion that follows, unscrupulous. They wanted a trophy in the worst way, and so in the early games they indulged in a practice called sandbagging. To Sandbag is to deliberately not do your best, in order to gain an advantage.

These fellows were shameless about it. One night one of them claimed he’d injured his bowling arm, and so he bowled with his other arm, getting, of course, bad scores for all three games. Other times one or both of them would ‘experiment’ with different grips or approaches. All of this stuff mysteriously ended at the end of that part of the season wherein a team’s handicap, or points automatically added to level the playing field of bowler skill, was determined. After that, our two stars bowled to the best of their ability, enjoying the extra points they’d “earned” by not doing their best. (PS: Our team won the trophy. I also got a patch for bowling a game 75 points above my average, which was a semi-dismal 150 or so. I feel that I earned my share of the trophy and my patch, since I was not a Sandbagger at the time.))

Now we come to the image above, my latest acrostic-poem card. It has good possibilities as a work of art, but the execution is rushed and slipshod, and the poem is needlessly confusing. I can draw, and have drawn, far better; I can compose, and have composed, far more coherent verse. Why didn’t I do a better job?

Well, I can claim that my time is severely limited, which is 100% true; and I can tell you truly that I did this particular card to provide a not-too-intimidating example of acrostic poetry, in order to persuade my fellow members of the poetry group Poets All Call to try acrostic poetry themselves. I’m also slightly distracted by the migratory lingering gout that has now settled in my right knee.

But the whole truth is, about this and many other cards I’ve done, that I COULD have done better, and out of respect for the concept, SHOULD have done better, but I simply CHOSE NOT TO, and shame on me.

Shame on me, because you, the viewer, deserve the best I can do in the presentation of my artwork: you are giving the most precious thing you have in the world, Time Out Of Your Life, to paying attention to what I’ve done. And I am grateful that you do so, and I don’t want to waste your Time.

So–what advantage do I gain by not doing my best? Foremost, I think, is the indulgence of my laziness. I have chosen to work only so hard and no harder.

Second, I’m getting older astonishingly quickly, and I have so many ideas and ideas are my strong suit, and if I don’t record my ideas they tend to evaporate on me. If I spend too much time on one idea it is at the expense of others I may record, and won’t.

Third, just like those bowling teammates I had, I hope to look good-by-contrast later. Blog Post #1000 is fewer than 75 posts away. I am hoping it will be the best thing I have ever done in my life, arts-wise. That post may well serve as the equivalent of a master’s thesis, or an application of upgrade from apprentice to journeyman status, or, time not permitting, my valedictory farewell . . .

Thank you for your sweet Attention, my friends!

Here are the words to the OK-but-not-great acrostic:

Silly humans! They don’t know

Amorousness. Tally ho

Finding out about a partner

Enters realms Erle Stanley Gardner’d

NOTE: Erle Stanley Gardner wrote the Perry Mason books. With this line I compare growing intimacy to courtroom trials, with their Objection, Your Honors and their And Is It Not Also A Facts. As for “safe word,” it is a neologistic phrase referring to a word a lover may use to indicate, no kidding, that the other lover ought to cease and desist whatever s/he is doing, pronto. The phrase became popular after the release of the movie Fifty Shades of Grey, which I have not yet seen.

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slicing darkness we despoil
poison taints our alveoli
overcoats & furs & bling
tee times free of Vijay Singh
tame the land & blame the rest
yes, we flunk the Ethics tests

Questions? Comments? Requests to stop repeating myself?