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Blackberry-picking -- Seamus Heaney

Guest poem submitted by Aamir Ansari:
(Poem #934) Blackberry-picking
 Late August, given heavy rain and sun
 For a full week, the blackberries would ripen.
 At first, just one, a glossy purple clot
 Among others, red, green, hard as a knot.
 You ate that first one and its flesh was sweet
 Like thickened wine: summer's blood was in it
 Leaving stains upon the tongue and lust for
 Picking. Then red ones inked up and that hunger
 Sent us out with milk cans, pea tins, jam-pots
 Where briars scratched and wet grass bleached our boots.
 Round hayfields, cornfields and potato-drills
 We trekked and picked until the cans were full
 Until the tinkling bottom had been covered
 With green ones, and on top big dark blobs burned
 Like a plate of eyes. Our hands were peppered
 With thorn pricks, our palms sticky as Bluebeard's.
 We hoarded the fresh berries in the byre.
 But when the bath was filled we found a fur,
 A rat-grey fungus, glutting on our cache.
 The juice was stinking too. Once off the bush
 The fruit fermented, the sweet flesh would turn sour.
 I always felt like crying. It wasn't fair
 That all the lovely canfuls smelt of rot.
 Each year I hoped they'd keep, knew they would not.
-- Seamus Heaney
In a lecture given to students at Oxford University, Seamus Heaney compared
the writing of poetry to the creation of a labyrinth, one that mirrors the
gruesome contortions our own world assumes at times. The difference is,
however, that the poet's labyrinth, the poem, has the power to restore us,
to reset the balance.

Heaney displays those restorative powers wonderfully in this poem. The
arrival of joy and the subsequent convulsive preparations to capture every
last drop of it ("...with milk cans, pea tins, jam-pots") are honest to the
rich sensations of childhood experience. The poem itself is laden with
strange rich fruit, sweet clammy experience ready to be tasted and stored.
This, finally, is art true to life.

Aamir.

[Minstrels Links]

Poems by Seamus Heaney:
Poem #61, Song
Poem #883, Personal Helicon
Poem #934, Blackberry-picking

Poems on related topics:
Poem #827, Strawberries -- Edwin Morgan
Poem #274, This Is Just To Say  -- William Carlos Williams
Poem #377, Loveliest of trees, the cherry now  -- A. E. Housman
Poem #430, Wild Asters  -- Sara Teasdale
Poem #417, Thistles  -- Ted Hughes
Poem #63, Daffodils  -- William Wordsworth

Mother's Little Helper -- Mick Jagger and Keith Richards

Guest poem submitted by Amit Chakrabarti, the
final one in his guest theme:
(Poem #933) Mother's Little Helper
 What a drag it is getting old!

 "Kids are different today,"
 I hear ev'ry mother say
 Mother needs something today to calm her down.
 And though she's not really ill
 There's a little yellow pill
 She goes running for the shelter of a mother's little helper
 And it helps her on her way, gets her through her busy day.

 "Things are different today,"
 I hear ev'ry mother say
 Cooking fresh food for a husband's just a drag.
 So she buys an instant cake
 And she burns her frozen steak
 And goes running for the shelter of a mother's little helper
 And two help her on her way, get her through her busy day.

 "Doctor please, some more of these!"
 Outside the door, she took four more.

 "Men just aren't the same today,"
 I hear ev'ry mother say
 They just don't appreciate that you get tired.
 They're so hard to satisfy,
 You can tranquilize your mind
 So go running for the shelter of a mother's little helper
 And four help you through the night, help to minimize your plight.

 "Life's just much too hard today,"
 I hear ev'ry mother say
 The pursuit of happiness just seems a bore.
 And if you take more of those
 You will get an overdose
 No more running for the shelter of a mother's little helper
 They just helped you on your way, through your busy dying day.
-- Mick Jagger and Keith Richards
[Comments]

Whoa! Did you expect to see Jagger/Richards lyrics in this forum someday?
Well, why not? Tightness of form, good scansion, internal rhymes, plus
biting commentary on then-modern (i.e., 1960's) middle- class society...
it's all here. And the topic is original to boot. What other songs, or for
that matter, poems, do you know of about the sixties anti-depressant drug
craze? The craze has still not ended, afaik. There are any number of poems
and songs about drug addiction in general but this highlights not just one
(overlooked) kind of addiction but its association with basic middle class
boredom. If I were feeling lofty, I might have said "existential angst" but
I'm not, so I won't.

Anyway, this one almost needed to be written.

-Amit.

[Bio]

Mick Jagger and Keith Richards were the main songwriting force of the
British rock group "The Rolling Stones". Also, five times two equals ten.

[Links]

    http://www.therolling-stones.com/

[Notes]

The song is from the 1966 album "Aftermath". Unfortunately for the American
consumer, the album released under this name in the U.S. lacks this song.

[Sidenotes]

Here are two websites about those anti-depressant drugs (Prozac and its
relatives), if you want to learn more about the topic.
    [broken link] http://www.cchr.org/rape/mlh.htm
    http://www.breggin.com/minortranqs.html

[Administrivia]

Hey everybody, Sitaram's redesigned the Minstrels website! Check it out:
    http://www.cs.rice.edu/~ssiyer/minstrels/

Fast Food -- Richard Thompson

Guest poem submitted by Amit Chakrabarti, the
second in his guest theme (popular songs about urban problems):
(Poem #932) Fast Food
 Big mac, small mac, burger and fries
 Shove 'em in boxes all the same size
 Easy on the mustard, heavy on the sauce
 Double for the fat boy, eats like a horse.
 Fry them patties and send 'em right through
 Microwave oven going to fry me too
 Can't lose my job by getting in a rage
 Got to get my hands on that minimum wage.

 Shove it in their faces, give 'em what they want
 Got to make it fast, it's a Fast Food Restaurant.

 Shake's full of plastic, meat's full of worms
 Everything's zapped so you won't get germs
 Water down the ketchup, easier to pour on
 Pictures on the register in case you're a moron.
 Keep your uniform clean, don't talk back
 Blood down your shirt going to get you the sack
 Sugar, grease, fats and starches
 Fine to dine at the golden arches.

 Shove it in their faces, give 'em what they want
 Got to make it fast, it's a Fast Food Restaurant.

 Baby thrown up, booth number 9
 Wash it down, hose it down, happens all the time
 Cigarettes in the coffee, contact lens in the tea
 I'd rather feed pigs than humanity.

 Shove it in their faces, give 'em what they want
 Got to make it fast, it's a Fast Food Restaurant.
-- Richard Thompson
[Comments]

Little needs to be added by way of commentary to this wonderful piece of
vituperation. I only wonder why a certain extremely infamous and huge
company didn't go after Thompson, given such explicit lyrics as "Big Mac"
and "golden arches".

I find it fascinating that someone actually decided to dedicate a poem
(okay, a song) to this topic! That's originality.

-Amit.

[Notes]

For those who want to listen to the song, it's on the 1994 album "Mirror
Blue" about which I have raved earlier. But the ravings bear repeating. So
here goes: The album is a brilliant mix of wonderful Celtic acoustic
ballads, up-to-date rockers, biting social commentary and broken-hearted
love songs. If you're even vaguely interested in folk rock, buy this album.
Now.

Today's piece is set to full-blown Celtic folk accompaniment. The contrast
they make with the subject matter still gets me smiling, even after dozens
of listens.

[Links]

There's one other Richard Thompson song on Minstrels. It is also from
"Mirror Blue": Poem #299: "Taking My Business Elsewhere"

A brief bio of Thompson is included there.

Proud Maisie -- Sir Walter Scott

       
(Poem #931) Proud Maisie
 Proud Maisie is in the wood,
         Walking so early;
 Sweet Robin sits on the bush,
         Singing so rarely.

 "Tell me, thou bonny bird,
         When shall I marry me?"
 "When six braw gentlemen
         Kirkward shall carry ye."

 "Who makes the bridal bed,
         Birdie, say truly?"
 "The grey-headed sexton
         That delves the grave duly.

 "The glow-worm o'er grave and stone
         Shall light thee steady.
 The owl from the steeple sing,
         'Welcome, proud lady'."
-- Sir Walter Scott
Notes:
  Sung by the madwoman Madge Wildfire on her deathbed in chapter XL of
  The Heart of Midlothian (1818).
        -- http://www.library.utoronto.ca/utel/rp/poems/scott7.html

  Maisie: Mary. -- Palgrave

Here's what Palgrave has to say about today's poem:

  Scott has given us nothing more complete and lovely than this little
  song, which unites simplicity and dramatic power to a wildwood music of
  the rarest quality. No moral is drawn, far less any conscious analysis of
  feeling attempted; the pathetic meaning is left to be suggested by the
  mere presentment of the situation. Inexperienced critics have often named
  this, which may be called the Homeric manner, superficial, from its
  apparent simple facility; but first-rate excellence in it (as shown here,
  and in cxcvi., clvi., and cxxix.) is in truth one of the least common
  triumphs of poetry. This style should be compared with what is not less
  perfect in its way, the searching out of inner feeling, the expression of
  hidden meanings, the revelation of the heart of Nature and of the soul
  within the soul-the analytical method, in short, most completely
  represented by Wordsworth and Shelley.

        -- Francis T. Palgrave, "The Golden Treasury"

I agree with him as to the poem's rare beauty, but I cannot help but feel
that a moral is implicit in the adjective 'proud'. The poem is strongly
reminiscent of cautionary ballads like "Barbara Allen", where, at least for
a woman, the wages of pride were death.

However, 'Proud Maisie' does, as Palgrave points out, differ from the
pattern by being simply tragic, rather than cautionary. The very
understatedness of the exchange helps underscore its sombre tone - compared
to lines like

                As she was walkin o'er the fields
                She heard the dead-bell knellin',
                And every jow that the dead-bell geid,
                Cried, "Woe to Barbara Allen!"

Scott's verse has a quiet dignity that resonates well with the 'magical'
aspects of the poem - the lonely woodland setting, and the bird dealing out
prophecies of death (compare Poe's "Raven").

Formwise, today's poem, while a little short, fits well into the ballad
pattern. To quote Arthur Quiller-Couch, in "The Oxford Book of Ballads":

  If any man ever steeped himself in balladry, that man was Scott, and once
  or twice, as in Proud Maisie and Brignall Banks, he came near to distil
  the essence.

To be precise, "Proud Maisie" is a literary ballad, a narrative poem written
in deliberate imitation of the ballad form, and intended to be read rather
than sung. (See the links for an excellent guide to literary terms, covering
ballads, ballad stanza and the literary ballad.)

Links:
  Biography:
    http://www.blupete.com/Literature/Biographies/Literary/Scott.htm

  Musical settings:
        [broken link] http://www.recmusic.org/lieder/s/scott/maisie.html

  Here's a wonderful essay on Scott:
        http://www.bartleby.com/223/0706.html

  The complete "Heard of Midlothian" online:
    http://www2.arts.gla.ac.uk/SESLL/STELLA/STARN/prose/WSCOTT/HEARTMID/contents.htm

  A definition of ballads, ballad stanza and literary ballads
        http://icdweb.cc.purdue.edu/~felluga/guide241.html#ballad

  And an essay on the ballad in its various manifestations:
    http://www.tnellen.com/cybereng/ballad.html

  Perhaps the classic example of the literary ballad is Keats's "La Belle
  Dame Sans Merci" poem #182

  Other poems by Scott on Minstrels:
        Poem #125, "Lochinvar"
        Poem #415, "The Truth of Woman"
        Poem #495, "Marmion"

-martin

Town Called Malice -- Paul Weller

Chiming in on the theme we have guest minstrel Susan Wilkes:
(Poem #930) Town Called Malice
 You'd better stop dreaming of the quiet life
 'cos it's the one we'll never know
 And quit running for that runaway bus
 'cos those rosy days are few
 And stop apologising for the things you've never done
 'cos time is short and life is cruel, but it's up to us to change
 This town called malice.

 Rows and rows of disused milk floats stand dying in the dairy yard
 And a hundred lonely housewives clutch empty milk bottles to their hearts
 Hanging out their old love letters on the line to dry
 It's enough to make you stop believing when tears come fast and furious
 In a town called malice.

 Struggle after struggle, year after year
 The atmosphere's a fine blend of ice, I'm almost stone cold dead
 In a town called malice.

 A whole street's belief in Sunday's roast beef gets dashed against the
Co-op
 To either cut down on beer or the kids new gear
 It's a big decision in a town called malice.

 The ghost of a steam train, echoes down my track
 It's at the moment bound for nowhere, just going round and round
 Playground kids and creaking swings, lost laughter in the breeze
 I could go on for hours and I probably will, but I'd sooner put some joy
back
 In this town called malice.
-- Paul Weller
 Lyrics by Paul Weller. Performed by the Jam.

About a year ago, I happened to write this to two friends: "The Jam are a
part of one of the most beautiful musical memories I have.  I was 16, and
had just decided I was leaving home (though I was 17 by the time I moved).
My brother's band was playing at a bar in Peterborough, Ontario. It had been
an *amazing* night, and I was helping them pack up.  They were playing a
tape through the PA system which meant the music was very, very loud.  "Town
Called Malice" came on; we turned it up louder, and danced/raced/ran up and
down the length of this bar.  I could *not* get enough - this intense
physical expression - being 16 and with a body not big enough to contain it
all - gotta run, gotta dance, gotta move on.  I swear, I think of that night
as my youth."

That night in the bar was in 1982, and now I add - this is truly one of my
all time favourite songs.  I read the lyrics and my body starts moving to
the wicked music, and I hear Paul Weller's voice booming.  But I do think
the lyrics stand alone.  In bleak moods, I'm sure I mostly related to "It's
enough to make you stop believing when tears come fast and furious", but
even at the angst-ridden age of 16, I think I always preferred "I could go
on for hours and I probably will, but I'd sooner put some joy back in this
town called malice."  I think there's so much else there as well, and I
still like to listen to it very, very loud.

By the way, Paul Weller was pretty much a kid then, too - just a few years
older than me.  He's gone on to write some more pretty amazing songs...

Susan.