Thursday, June 22, 2017
From the viewer's left to right, the back row is my grandma Dempsey, who lived with us, my cousin Rosemary who often stayed at our place, and on the couch my mom, my Aunt Rose (Rosemary's widowed mother), somebody else we can't see, and my brother Robert. Those on the floor are my cousin Micki, who lived down the street, my cousin Mary Lynn, who lived next door, my sister Joan, with me confronting the camera, my ever present black cowboy hat with white stitching hanging down my back. Everyone in this photo gone now, except for Mary Lynn and me.
Tuesday, June 20, 2017
But first two disclosures. When my oldest son, Miles, was five and moved in with me in New York in the Spring of 1975, (his sister Caitlin joined us for the summer and eventually joined us permanently), his first real friend was John Reed. So John has been a lifelong friend of my son's, and of mine. Second, I've got a thing about books that mix poetry and prose.
When I was a teenager in the 1950s and first read Dante's VITA NUOVA, I fell in love with that mix (whether mostly poetry with just a dollop of prose, or more prose thank poetry) and never fell out. Some of my favorites off the top of my head are William Carlos Williams's SPRING AND ALL, THE DESCENT OF WINTER and PATERSON; Jean Toomer's CANE; James Schuyler's THE CRYSTAL LITHIUM and THE HOME BOOK; James Haining's A QUINCY HISTORY; and a whole bunch of my books: ROCKY DIES YELLOW, CATCH MY BREATH, JUST LET ME DO IT, ATTITUDE, HOLLYWOOD MAGIC, IT'S NOT NOSTALGIA, and IT TAKES ONE TO KNOW ONE (wow, another list from my post-op brain).
The structure of FREE BOAT is closest to my first mix-of-prose-and-poetry love, Dante's VITA NUOVA. In that book, a collection of Dante's early poems written to his lifelong obsession, and first true love, Beatrice, the poems are interspersed with prose explantations of the poems or further explication of the themes in them etc. FREE BOAT appears to extend that poet/commentator model, but from a 21st-Century perspective.
Though Reed's FREE BOAT is the first book of his that seems to finally come out of his real life experience, it's interspersed with fictitious, and at times fictitiously sensationalized, elements. Which means a lot of the explanations, as well as the poems themselves, include post-modern approaches like an unreliable narrator, language games, deliberate misdirection, juxtapositions of images and phrases, and even words, that seem to be intended to create confusion but also fusion, of unlike ideas and interpretations (and other John Reeds' google info?), creating a kind of series of language and "biographical" mini-explosions and excursions. There are lots of photos too, some of, or including, the author at various ages, others of the many other "John Reeds" to be found on Google, or images related to the author's life or the lives of other John Reeds, etc. leading to more revelations and some more obfuscations.
Despite all the "experimental-writing" (a term that used to be used for anything untraditional back in my day) aspects of Reed's FREE BOAT, the poems in it are often in the form of traditional sonnets, though most of them blow that traditional poetic form wide open (and sideways and otherwise) to accommodate the twists and turns of the seeming murder-mystery plot of the memoir-esque facets of the book. I suspect FREE BOAT will not be to everyone's taste (though it is to mine). But its brilliant intellectual virtuosity and creative originality cannot be denied.
Sunday, June 18, 2017
me & my youngest c. 2004 in from of the place in Jersey I rented at the time
me & my oldest children c. 1979 in a loft I rented in NYC in what later became "Tribeca"
me & my father and two of my three older brothers, our two sisters, mother and grandma c. 1952 In Belmar NJ where our grandmother had a bungalow