The post I am working on for Friday to mark the death of Camille Pissarro in 1903 reminded me of this post I did six and half years ago. I took the photograph in the hallway of an old converted house in Cambridge, MA – I was helping a friend of mine move out of the attic apartment. The light was just like that, pouring through a circular window at top of the stairs. Mueller’s poem came almost immediately to mind; this post is still one of my favorite very early ones from my blog. To read Mueller’s whole poem, go here.
I have been a fan of m lewis redford’s poetry (and follower of his WordPress blog) for at least 5 or 6 years now – wow, time flies! He posted his poem “Castrated” in early 2015, right around the same time the movie about Alan Turning – “The Imitation Game” – came out in the U.S. and I was really struck by his poem about Turing. I did an illustration for it back then (you can see his post about that HERE or go the end of this post).
I’ve been thinking about his poem recently for a number of reasons – one is a history poem post I am working on for later this week. Since I couldn’t get the poem out of my head, I decided to try another illustration of it using some of my more recent transfer and collage techniques. Plus it was a great excuse to spend time again with redford’s poetry and website! For this attempt I wanted something more mechanical, more “flawed machine.” The format was smaller, so I didn’t get the whole poem on there. To read the complete poem, see my original illustration below the “read more” tag or visit his post.(more…)
What thoughts I have of you, Walt Whitman, for I walked down the sidestreets
under the trees with a headache self-conscious looking at the full moon…
Allen Ginsberg (1926 – 1997)
Some of the illustration boards that I cut up for my Popo Postcard Festival cards included the practice and palette boards for this painting I did a few years ago. Thus, I was inspired to dig it out of the IP archive! Don’t worry, the painting itself didn’t get the hatchet – it is one my few completed acrylic paintings that I still really like. The text of the original post from 2016 is below:
“This painting was one of two that I did for Matthias over at Beat Company (you can see the other one here edit Oct 13, 2020 – link broken and removed, sadly, Beat Company is no longer active) to mark the anniversary of Allen Ginsberg’s passing on April 5th, 1997. The inspiration for the piece was the footnote to Howl and a photograph of Ginsberg as a young man in Berkeley, California. When Matthias didn’t wind up using this painting for the anniversary post, I decided to post it here on Illustrated Poetry – but the more I looked at it, the more I realized it reminded me of the opening lines of A Supermarket in California. It is one of those cases where the art knows more than I do! You can read the entire text of A Supermarket in California here. Painting, acrylic on illustration board, by me. Have a wonderful week!”
I confess that I’ve always wanted to make shadow boxes (AKA assemblages) and so when the Kick-About #10 theme was announced as one of Joseph Cornell’s assemblages called “Romantic Museum” – I decided to seize the day and fulfill the dream (click HERE to see Kick-About #9 and the announcement itself). First, the prompt:
I took a cue from the fact that “Romantic Museum” is housed in a case used for storing scientific specimens. I had an old wooden wine box I’d picked up curbside on trash day a while back: I painted it and used it to house the reconstructed bones of seabirds. NOTE: These bones were all found objects – washed-up on the beach near my home, already skeletonized. They are not from the same bird, and most likely are from local seagulls.
On the back of the box, I transfer printed as much of the “Rime of the Ancient Mariner” by Samuel Taylor Coleridge as I could fit (click HERE to read the entire poem). The imagery of sea birds in this poem is so powerful it has seeped into everyday language as the phrase “an albatross around my neck.” Many seabird species are highly endangered – for instance almost half of all albatross species are threatened by the degradation of fishing stocks and habitat loss. This is in addition to the effects of climate change that intensify storms and disrupts sea bird breeding on remote islands. They are caught in an environmental net of human making. I hoped to convey some of this in my “Albatross Box.”
Since finishing the box a few days ago, I have been struck by how different it looks at different times of day. The shadows draw me in and highlight different phrases and words from Coleridge’s poem. Wiring the bird bones together was unexpectedly emotional for me – I know this box isn’t just about the plight of seabirds or found objects – and in that too it finds kinship with “Romantic Museum.”
in the center of her flowers
I was cleaning out a portfolio of old drawings the other day when I stumbled upon the ink lettering I did for a past post on Ann Atwood’s haiku “dead center.” Back then, I wound up using the lettering for an overlay in a digital collage (reposted at the end), but with the perspective of time, I’ve decided I really like the simplicity of the original. So I rescued it from potential recycling and was pleasantly surprised to find that there was a “B-side” drawing as well!
At the time of my original post, there was almost no information on Ann Atwood online. Her haiku were listed in numerous anthologies and the poems could be found on the internet, but the poet herself was a mystery. This seems to still be the case, as I found a post (click here) from the Haiku Foundation (featuring my collage – which was another pleasant surprise!) talking about the limited information we do know and calling for anyone with more to get in touch. The post also features many more of Ms. Atwood’s beautiful haiku.
The original digital collage for “dead center.”
A comment about the texture of my drawings in my last post (thank you, Jilanne!), sent me in search of more “textured” ink drawings I’ve done. I found this one in the archive and so it’s back! By the end of his life, E.E. Cummings’ political views had tracked radically rightward. This has always been out of step with his avant-garde image as a poet – even when he was alive – and his political poetry has not had the lasting popular appeal of his love poems. But this two-liner of his is pretty priceless. While I stridently disagree with his politics, I choose to pluck this political poem out of obscurity; it has a universal feel about it and a sentiment most everyone has shared.
When I dug the drawing out to scan it again, I made the discovery of a B-side I had completely forgotten about! It goes with the texture theme of this week so here it is:
I first posted the Cummings-inspired drawing in early 2016: the original post is here. Have a great (and safe) weekend!
About two weeks ago, my grandmother passed away of natural causes (not Covid-related) at 102 years old. Her funeral was held last week amongst continuing coronavirus restrictions and the pastor noted that she was born during one pandemic (the 1918 Spanish Flu) and died during another – but that this isn’t what defines her, or anyone’s life.
Since she died, I keep coming back to this poem by Carol Muske-Dukes – maybe because my grandmother lingered in a semi-conscious state for almost a week before she died, maybe because it describes so accurately how we didn’t know how to let her go. I had done this drawing as a response to the poem 4 years ago – and when I went back and looked at it last week, it felt unfinished. Now that I had a face to go with the poem, I added the details and shadows it needed. I also added the final words of the poem onto the drawing directly, to fix them there permanently.
If you’d like to read the whole poem, which was part of a series of art-poem collaborations at The New York Times Style Magazine, you can go here.
My original post is here.
Since Monday’s post had a science themed collage for Phil’s Kick-About Number #4, I visited the archive to see about another science themed collage. I came across this one, for a William Carlos William’s poem. I laughed because I got the background image for this one – you can see the “heat” and “cold” peaking out from the lady’s shoulder – from the same source as the center image in “Mirror Neurons.” It was a science textbook from the early 60’s I got for free out of the discard pile at the library. The science in it was outdated and often overtly sexist and racist – so I cut out the best of the illustrations and art and consigned the rest to the dustbin of history.
The entirety of the poem is posted after the read more tag, along with the text of the original post and a link (which is still good, I checked) to an online archive of Williams reading his own poems.