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There are some words that seduce the poet through ululation. Ululation is one such. Then there are uvula, Pavuvu, Honolulu–and alula.

An alula, also known as a spurious or bastard wing, is a substructure of the bird’s wing that when flexed changes the airfoil of the wings, raising the pressure differential of upside and underside airflow, which helps prevent the bird from stalling. My first encounter with this word was as a teenager reading Robert A. Heinlein’s “The Menace from Earth.” His protagonist, one Holly Jones, resident of the Moon, liked to fly using her top-of-the-line Storer-Gulls. Controls encircling her thumbs allowed her to flex her alulae.

When the happy mashup of Honolulu and a peregrine falcon showed up on my radar, I could not but celebrate with this page, which is really a celebration of the word alula and its plural alulae.

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falcon alulae

flight is pull & swoop & hula
atmosphere the crafter’s tool
lift her over honolulu
climb with her into the cool
oft aloft: the sky’s bathsheba
never stall–“thumbs” up, meine liebe

In some attempted creative expression the end product offers the creating party a trade, saying, “You don’t get to get me completely–I’m ungettable by my very nature–but I’ve got something you’ve never done before, and you better keep it.” I think this is one of those.

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What Gave

Wizened horseman sought a gig
Wayward daughter worked the trig
Had some talk at 8th & Shea
Hopped a plane unto LA
Added travel slow & rev
And a Stan with last name Lev
Thus the Trickster plays a fife
Tuneful of an orphan’s life

NOTE: The “Stan with last name Lev” is probably Stanislaw Lem in disguise. http://en.wikipedia.org/wiki/Stanis%C5%82aw_Lem

we put some stuff in our mouths
and open the food-intake part of our throats
and the stuff goes down the esophageal chute
and in about eleven seconds
it goes to a holding area known as the stomach
which uses an acid bath to leach the good stuff
and sends it on its duodenal way to be absorbed
via fingerlings called villi
and on down through windings of sausage-casings stuff
and the good stuff gets taken some here some there
and the extra or bad stuff gets packaged for offloading

and it all bears a resemblance to taking a stream of thought
and worrying the good engagement out of it
and refining it into words
while extracting the extraneous and the wrong
via backspace delete and cut

each of our glorious bodies are editors
chemical processors
and fertilizer manufacturers

and why that is a source of shame and not pride
is in the labyrinthine history of our convoluted culture

My first Life Drawing class was in the Spring of 1973. My eighth or so was sometime in the early 2000s. Outside the classroom there were a few occasions, and today I found an unfinished drawing circa 2010. I believe the model was Valley-local legend Crystal Cruz. Shoplight lighting and a skeleton made for a good erotic/macabre ensemble.

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Bone Fire

Balderdash & one naïf
One in love with fluffy Fifi
Neither wishes to demur
Either’s ether’s too unsure

Fire & Bone

Flimsy limb & leg of lamb
IED goes off & Wham-O
Rip a tide & keep it keen
Enter Now & make the scene

This celebration of Charcoal in its various forms was done not in charcoal but in pencil. Without proper charcoal paper, charcoal, a real chamois, at least two kinds of eraser, and fixative, it is unwise to attempt a coherent charcoal drawing.

I here galorify Charcoal with three acrostic poems and one drawing of four Charcoal incarnations:

charcoal 112014

Charcoal I

Carbon & gum arabic
Have a vine & dandy go
Add your dark and scarabic/A
Righteous DARK’ll Rock & Roll

Charcoal II

Could be it’s a stick with colic
Half a shadowed calico
Anti-talc or -tapioca
Rich rococo cocoa local

Charcoal III

Crackled screeches: cacophonic
Half a circle makes a halo
And a matador’s veronica
Robbing feedlots of a payroll

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done places, gone things

[Satan, to a newly arrived Chicagoan]
The trouble with you Chicago people is,
that you think you are the best people down here;
whereas you are merely the most numerous.
Mark Twain (“Pudd’nhead Wilson’s New Calendar”)

in our language of euphemism and shorthand,
first we get older and then we get old.
we go there and do that and get the t-shirt.
if we like it enough we go and do and get again.

when you’ve already been older and are heading for old,
life’s increasing limitations elbow their way in,
so you stroll along the strand rather than running tirelessly through it
on the way to something else,

or get quietly smashed instead of raising hell.
you turn in your young-person card
and start referring to young adults as “kids.”
in our language of euphemism and shorthand,

we “slow down” as we “get on”
though we tell ourselves “fifty is the new thirty”
and other nonsense,
and some of us take desperate measures:

doctors saw at the skin of our faces
or inject paralyzing toxin into it, or both,
and sometimes the masquerade works,
and sometimes it doesn’t.

we get offered “rewards” that are enticements
for the dispensation of our disposable and not-so-disposable cash.
we get mail about cremations and cruises
and we get fading music.

the cradle rocks and the grave is still.
in between, the speed limit will go from 75 to 15
and there’ll be a wiggly pointed line on a yellow background.
it is then that we find out what we’re made of.

Here quadruple acrosticism is pushed to its limit. Nineteen words are arrayed in four lines that yield four more words. Each row summons an image; each acrostical column is illustrated by contrapuntal images. Talismans is to Arcana as Secretariat is to Racecar. The two middle acrostics are the bookends of those four words, and the first word in every row ends in the same letter of the acrostic column next to it, and the last phrase of each row begins with the same letter of the acrostical column to its immediate left. Why all these strictures? My guess is I do it for the same reason Henri Matisse painted a green stripe down the middle of the face of his portrait of Madame Matisse. We’re pushing on something, seeing if we can get away with it, and seeing if it matters.

Curiosity may be satisfied by doing an Internet search on “matisse green stripe.” Meanwhile, here’s mine:

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Some fine day I may push the envelope further with “spot/opts/pots/stop.” I’d be overjoyed if someone beat me to it, though. [rueful smile]

A movie called GONE GIRL featured a bar called “The Bar.” Mention was made of the name of the bar being “meta,” which means self-referential in a self-aware sort of way, sort of. Meta’s been around for a while, as witness this first verse to the theme of “It’s Garry Shandling’s Show”:

This is the theme to Garry’s Show,
The theme to Garry’s show.
Garry called me up and asked if I would right his theme song.
I’m almost halfway finished,
How do you like it so far,
How do you like the theme to Garry’s Show.

So this is a pencil sketch featuring an acrostic of “Pencil Sketch.” It features Imogene Coca, who as a player in Sid Caesar’s “Your Show of Shows” performed in many a sketch. Apologies to the memory of Ms. Coca for such a sketchy description of such an outstanding comedic mind. Apologies, too, for an indecent attempt at caricature without reference to a photo source. This time round I elected to fly by the seat of my mind’s-eye pants and draw without looking at anything except the page.

Here are the words to the acrostic. Each line describes a sketch to be found on the page. Near the lower right-hand corner is a sketch of a pencil, which illustrates the double acrostic in heavy meta.

Party hats seen through refractive glass
Elephant sniffs at a whiskey flask
Nightstick next to an alley’s grate
Cat all tie-dyed per the dyer’s trait
Imogene Coca as a bumbling narc
Lastly–a profile of a matriarch

My own take on Meta is that being self-referential has its place, but self-REVerential–not so much.

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