Subscribe: by Email | in Reader

The River -- Pare Lorentz

Guest poem sent in by Flavia Iacobaeus :

I thought perhaps that this text/poem might be interesting. It wasn't
intended as a poem, but as a voice-over for a newsreel, but I've always read
it as one. It's long, but worth it.
(Poem #1424) The River
 From as far West as Idaho,
 Down from the glacier peaks of the Rockies,
 From as far East as New York,
 Down from the turnkey ridges of the Alleghenies,
 Down from Minnesota, twenty-five hundred miles,
 The Mississippi River runs to the Gulf.
 Carrying every drop of water that flows down two thirds the continent,
 Carrying every brook and rill, rivulet and creek
 Carrying all the rivers that run down two thirds the continent,
 The Mississippi runs to the Gulf of  Mexico.
 Down the Yellowstone, the Milk, the White and Cheyenne;
 The Cannonball, the Musselshell, the James and the Sioux:
 Down the Judith, the Grand, the Osage and the Platte,
 The Skunk, the Salt, the Black and Minnesota;
 Down the Rock, the Illinois and the Kankakee,
 The Allegheny, the Monogahela. Kanawha, and Muskingum;
 Down the Miami, the Wabash, the Licking, and the Green,
 The Cumberland, the Kentucky, and the Tennessee;
 Down the Ouchita, the Wichita, the Red, and Yazoo ...
 Down the Missouri three thousand miles from the Rockies;
 Down the Ohio a thousand miles from the Alleghenies;
 Down the Arkansas fifteen hundred miles from the Great Divide;
 Down the the Red, a thousand miles from Texas;
 Down the great Valley, twenty-five hundred miles from Minnesota,
     Carrying every rivulet and brook, creek and rill,
 Carrying all the rivers that run down two-thirds the continent ...
 The Missisippi runs to the Gulf.
 New Orleans to Baton Rouge,
 Baton Rouge to Natchez,
 Natchez to Vicksburg,
 Vicksburg to Memphis,
 Memphis to Cairo ...
 We built a dike a thousand miles long.
 Men and mules, mules and mud;
 Mules and mud a thousand miles up the Missisippi.
 A century before we bought the great Western River, the Spanish and the
   French built dikes to keep the Missisippi out of New Orleans at flood stage.
 In forty years we continued the levee the entire length of the great alluvial
   Delta,
 That mud plain that extends from the Gulf of Mexico clear to the mouth of the
   Ohio.
 The ancient valley built up for centuries by the old river spilling her floods

 across the bottom of the continent ...
 A mud delta of forty thousand square miles.
 Men and mules, mules and mud ...
 New Orleans to Baton Rouge,
 Natchez to Vicksburg,
 Memphis to Cairo ...
 A thousand miles up the river.
 And we made cotton king.
 We rolled a million bales down the river for Liverpool and Leeds&.
 1860: we rolled four million bales down the river,
 Rolled them off Alabama,
 Rolled them off Mississippi,
 Rolled them off Louisiana,
 Rolled them down the river!
 We fought a war.
 We fought a war and kept the west bank of the river free of slavery forever.
 But we left the old South impoverished and stricken.
 Doubly stricken, because, beyond the tragedy of war, already the frenzied
   cotton cultivation of a quarter of a century had taked toll of the land.
 We mined the soil for cotton until it would yield no more, and then moved
west.
 We fought a war, but there was a double tragedy ... the tragedy of land twice
   impoverished.
 Black spruce and Norway pine,
 Douglas fir and Red cedar,
 Scarlet oak and Shagbark hickory,
 Hemlock and aspen ...
 There was lumber in the North.
 The war impoverished the old South, the railroads killed the steamboats,
 But there was lumber in the North.
 Heads up!
 Lumber on the upper river.
 Heads up!
 Lumber enough to cover all Europé.
 Down from Minnesota and Wisconsin,
 Down to St. Paul;
 Down to St. Louis and St. Joe ...
 Lumber for the new continent of the West.
 Lumber for the new mills.
 There was lumber in the North and coal in the hills.
 Iron and coal down the Monogahela.
 Iron and coal down the Allegheny.
 Iron and coal down the Ohio.
 Down to Pittsburgh,
 Down to Wheeling,
 Iron and coal for the steel mills; for the railroads driving
 West and South, for the new cities of the Great Valley ...
 We built new machinery and cleared new land in the West.
 Ten million bales down to the Gulf ...
 Cotton for the spools of England and France.
 Fifteen million bales down to the Gulf ...
 Cotton for the spools of Italy and Germany.
 We built a hundred cities and a thousand towns:
 St. Paul and Minneapolis,
 Davenport and Keokuk,
 Moline and Quincy,
 Cincinnati and St. Louis,
 Omaha and Kansas City . . .
 Across to the rockies and down from Minnesota,
 Twenty-five hundred miles to New Orleans,
 We built a new continent.

 Black spruce and Norway pine,
 Douglas fir and Red cedar,
 Scarlet oak and Shagbark hickory,
 We built a hundred cities and a thousand towns ...
 But at what a cost!
 We cut the top off the Alleghenies and sent it down the river;
 We cut the top off Minnesota and sent it down the river;
 We cut the top off Wisconsin and sent it down the river.
 We left the mountains and the hills slashed and burned,
 And moved on.
 The water comes downhill, spring and fall;
 Down from the cut-over mountains,
 Down from the plowed-off slopes
 Down every brook and rill, rivulet and creek,
 Carrying every drop of water that flows down two-thirds the continent,
 1903 and 1907,
 1913 and 1922,
 1927,
 1936,
 1937!
 Down from Pennsylvania and Ohio,
 Kentucky and West Virginia,
 Missouri and Illinois,
 Down from North Carolina and Tennessee ...
 Down the Judith, the Grand, the Osage, and the Platte
 The Rock, the Salt, the Black, and the Minnesota,
 Down the Monogahela, the Allegheny, Kanawha and Muskingum
 Down the White, the Wolfe, and the Cache,
 Down the Kaw and Kaskaskia, the red and the Yazoo,
 Down the Cumberland, the Kentucky, and the Tennessee ...
 Down to the Mississippi.
 New Orleans to Baton Rouge ...
 Baton Rouge to Natchez ...
 Natchez to Vicksburg ...
 Vicksburg to Memphis ...
 Memphis to Cairo ...
 A thousand miles down the levee the long vigil starts.
 Thirty-eight feet at Baton Rouge
 River rising.
 Helena: river rising.
 Memphis: river rising.
 Cairo: river rising.
 A thousand miles to go,
 A thousand miles of levee to hold ...
 Coastguard patrol needed at Paducah!
 Coastguard patrol needed at Paducah!

 200 boats - wanted at Hickman!
 200 boats wanted at Hickman!
 Levee patrol: men to Blytheville!
 Levee patrol: men to Blytheville!

 2000 men wanted at Cairo!
 2000 men wanted at Cairo!

 A hundred thousand men to fight the old river.
 We sent armies down the river to help the engineers fight a battle on a two
   thousand mile front:
 The Army and the Navy,
 The Coast Guard and the Marine Corps,
 The CCC and the WPA,
 The Red Cross and the Health Service.
 They fought night and day to hold the old river off the valley.
 Food and water needed at Louisville: 500 dead, 5000 ill;
 Food and water needed at Cincinnati;
 Food and water and shelter and clothing needed for 750,000 flood victims;
 Food and medicine needed at Lawrenceburg;
 35,000 homeless in Evansville;
 Food and medicine needed in Aurora,
 Food and medicine and shelter and clothing for 750,000 down in the valley.
 Last time we held the levees,
 But the old river claimed her valley.
 She backed into Tennessee and Arkansas
 And Missouri and Illinois.
 She left stock drowned, houses torn loose,
 Farms ruined.

 1903 and 1907,
 1913 and 1922,
 1927,
 1936,
 1937!
 We built a hundred cities and a thousand towns ...
 But at what a cost!

 Spring and fall the water comes down, and for years the old river has taken a
   toll from the Valley more terrible than ever she does in flood times.
 Year in, year out, the water comes down
 From a thousand hillsides, washing the top off the Valley.
 For fifty years we dug for cotton and moved West when the land gave out.
 For fifty years we plowed for corn, and moved on when the land gave out.
 Corn and wheat; wheat and cotton ... we planted and plowed with no thought for

 the future ...
 And four hundred million tons of topsoil,
 And four hundred million tons of our most valuable natural resources have been

   washed into the Gulf of Mexico every year.
 And poor land makes poor people.
 Poor people make poor land.
 For a quarter of a century we have been forcing more and more farmers into
   tenancy.
 Today forty percent of all the farmers in the great Valley are tenants.
 Ten percent are share croppers,
 Down on their knees in the valley,
 A share of the crop their only security.
 No home, no land of their own,
 Aimless, footloose, and impoverished,
 Unable to eat even from the land because their cash crop is their only
   livelihood.
 Credit at the store is their only reserve.
 And a generation is growing up with no new land in the West ...
 No new continent to build.
 A generation whose people knew King's Mountain, and Shiloh;
 A generation whose people knew Fremont and Custer;
 But a generation facing a life of dirt an poverty,
 Disease and drudgery;
 Growing up without proper food, medical care, or schooling,
 "Ill-clad, ill-housed, and ill-fed" ...
 And in the greatest river valley in the world.


 Epilogue:

 *There is no such thing as an ideal river in Nature, but the Missisippi is out

 of joint.*
 *Dust blowing in the West ... floods raging in the East ...*
 *We have seen these problems growing to horrible extremes.*
 *When we first found the Great Valley it was forty percent forested.*
 *Today for every hundred acres of forests we found we have ten left.*
 *Today five percent of the entire valley is ruined forever for agricultural
 use!*
 *Twenty-five percent of the topsoil has been shoved by the old river into the
 Gulf of Mexico.*
 *Today two out of five farmers in the valley are tenant farmers - ten percent
 of them sharecroppers living in a
      state of squalor unknown to the poorest peasant in Europé*
 *And we are forcing thirty thousand more into tenancy and cropping every
year.*
 *Flood control of the Missisippi means control in the great Delta that must
 carry all the water brought down
     from two-thirds the continent*
 *And control of the Delta means control of the little rivers, the great arms
 running down from the uplands.
     And the old river can be controlled.*
 *We had the power to take the valley apart; we have the power to put it
 together again.*

       In 1933 we started, down on the Tennessee River, when our Congress
  created the Tennessee Valley Authority, commissioned to develop navigation,
  flood control, agriculture, and industry in the valley; a valley that carries
  more rainfall than any other in the country; the valley through which the
  Tennessee used to roar down to Paducah in flood times with more water than
  any other tributary of the Ohio.
       First came the dams.
       Up on the Clinch, at the head of the river, we built Norris Dam, a great

  barrier to hold water in flood times and to release water down the river for
  navigation in low water season.
       Next came the Wheeler, first in a series of great barriers that will
  transform the old Tennessee into a link of fresh water pools locked and
  dammed, regulated and controlled, down six hundred fifty miles to Paducah.
         But you cannot plan for water unless you plan for land: for the cut-
  over mountains ... the eroded hills ... the gullied fields that pour their
  waters unchecked down to the river.
       The CCC, working with the forest service and agricultural experts, have
 started to put the worn fields and hillsides back together; black walnut and
 pine for the wornout fields, and the gullied hillsides; black walnut and pine
 for new forest preserves, roots for the cut-over and burned-out hillsides;
 roots to hold water in the ground.
       Soil conservation men have worked out crop systems with the farmers of
 the Valley ... crops to conserve and enrich the topsoil.
       Today a million acres of land in the Tennessee Valley are being tilled
 scientifically.
       But you cannot plan for water and land unless you plan for people.
 Down in the Valley, the Farm Security Administration has built a model
 agricultural community. Living in homes they themselves built, paying for them
 on long term rates the homesteaders will have a chance to share in the wealth
 of the Valley.
       More important, the Farm Security Administration has spent thousands of
 dollars to farmers in the Valley, farmers who were caught by years of
 depression and in need of only a stake to be self-sufficient.
       But where there is water there is power.
       Where there's water for flood control and water for navigation, there's
 water for power ...
       Power for the farmers of the Valley.
       Power for the villages and cities and factories of the Valley.
       West Virginia, North Carolina, Tennessee, Missisippi, Georgia and
 Alabama.
       Power to give a new Tennessee Valley to a new generation. Power
  enough to  make the river work!

 We got the blacks to plant the cotton and they gouged the top off the valley.
 We got the Swedes to cut the forests, and they sent them down the river.
 Then we moved our saws and our plows and started all over again;
 And we left a hollow-eyed generation to peck at the wornout valley;
 And left the Swedes to shiver in their naked North country.
 1903, 1907, 1913, 1922, 1927, 1936, 1937 ...
 For you can't wall out and dam two-thirds the water in the country.
 We built dams but the dams filled in.
 We built a thousand mile dike but it didn't hold;
 So we built it higher.
 We played with a continent for fifty years.
 *Flood control? Of the Missisippi?*

 Control from Denver to Helena;
 From Itasca to Paducah;
 From Pittsburgh to Cairo ...
 Control of the wheat, the corn and the cotton land;
 Control enough to put back a thousand forests;
 Control enough to put the river together again before it is too late ...
 Before it has picked up the heart of a
     continent and shoved it into the Gulf of Mexico.
-- Pare Lorentz
Notes: The text/poem belongs to a 1937 motion picture by the Farm Security
  Administration of the Department of Agriculture. It's written/directed by
  documentary filmer Pare Lorentz.

I have loved this text since I first read it, and it has taught me a lot
about the differences between Europe (where I live) and America (it really
is a *continent* and not a, a gathering of nations with a common past).

It also enlighted the history of the States in a way different enough to
startle me into really looking at it. However much I've poked around,
though, I can't find a clear answer to what I most want to know; this was
published in 1937.  What has happened to the Missisippi valley since then?

Flavia ()

[Martin adds]

Given my stance on 'prose with interesting line breaks' masquerading as
poetry, I thought I'd explain my decision to run today's piece. As Flavia
says, that this is not, superficially, a 'poem, but neither is it prose -
as a documentary voiceover, it belongs to a different genre altogether, one
that comes close to drama, but does not coincide with it. And while not
written as a poem, today's text was definitely written with poetic intent,
and, indeed, adheres to many of the conventions of poetry - the richly
connotative language, the dense imagery, the use of verbal effects like
repetition for emphasis that go far beyond the limits of their usage in
prose, and even pointmaking wordplay like "And poor land makes poor
people./ Poor people make poor land."

Furthermore, I think voiceovers share a very important element with poetry -
the strong role of time as an integral element. Today's script is paced as
finely, and as effectively as any poem I've read - the rhythms of speech, of
image and of story are all woven into a tapestry upon which the narrative is
embroidered with precise control. Maybe not a "poem", but definitely poetry.

martin

[Links]

  Some more facts, a extract from the poem as well as a related article
  named "Saving the Good Earth: The Mississippi Valley Committee and Its
  Plan" can be found at:
    http://xroads.virginia.edu/~MA01/Davis/survey/home.html

  Nicely formatted html copy of the script:
   http://xroads.virginia.edu/~1930s/FILM/lorentz/riverscript1.html

  Biography:
    http://xroads.virginia.edu/~1930s/FILM/lorentz/bio.html

Out of Danger -- James Fenton

Guest poem sent in by Linda Fernley
(Poem #1423) Out of Danger
 Heart be kind and sign the release
 As the trees their loss approve.
 Learn as leaves must learn to fall
 Out of danger, out of love.

 What belongs to frost and thaw
 Sullen winter will not harm.
 What belongs to wind and rain
 Is out of danger from the storm.

 Jealous passion, cruel need
 Betray the heart they feed upon.
 But what belongs to earth and death
 Is out of danger from the sun.

 I was cruel, I was wrong -
 Hard to say and hard to know.
 You do not belong to me.
 You are out of danger now -

 Out of danger from the wind,
 Out of danger from the wave,
 Out of danger from the heart
 Falling, falling out of love.
-- James Fenton
I really liked 'The Ideal' (Poem #1380) and it reminded me of another Fenton I
read several years ago from his Out of Danger collection. So poignant in its
simplicity, it will strike a chord with anyone who's ever fallen out of love -
a strange combination of sadness and relief.

Linda.
()

My Library -- Lucy Maud Montgomery

Guest poem sent in by Jeffrey Sean Huo
(Poem #1422) My Library
 It is small and dim and shabby -- just one old, low-corniced room,
 With the plaster stained and broken and the corners lost in gloom:
 And one square, uncurtained window, where a sea-born sunset shines
 In a glow of chastened splendor though grand cathedral pines.
 But 'tis dear and sacred to me, plain and dusky tho' it be,
 For the best of friends and comrades hither come to meet with me.
 And I welcome them right gladly when the lingering daylight falls
 On the old, familiar faces of my books along the walls.

 Matchless tales of lands far distant; ballads of an olden day,
 Full of fire and faith and fervor that no time can steal away:
 Songs of many gracious poets: rare old essays richly blent
 With the legendary lore of orient and occident:
 Tales of wonderful adventures in the merry years of yore,
 And of half-forgotten battles lost and won by sea and shore;
 Classic myth and stately epic, born of earth-old joy or pain --
 All the centuries have left us, I may gather here again.

 Here with hosts of friends I revel who can never change or chill;
 Though the fleeting years and seasons they are fair and faithful still!
 Kings and courtiers, knights and jesters, belles and beaux of far away,
 Meet and mingle with the beauties and the heroes of to-day.
 All the lore of ancient sages, all the light of souls divine,
 All the music, wit and wisdom of the gray old world is mine,
 Garnered here where fall the shadows of the mystic pineland's gloom!
 And I sway an airy kingdom from my little book-lined room.
-- Lucy Maud Montgomery
Lucy Maud Montgomery is most famous for the book 'Anne of Green Gables' and
subsequent novels; but in her lifetime she also wrote hundreds of poems, of
which "My Library" is one.  I think, in three heartfelt verses, Montgomery
captures wonderfully the affection and passion that all who call ourselves
lovers of books and stories know.

Jeffrey

[Martin adds]

I am reminded, too, of Guest's "Story Time" [Poem #733], with its similar
"there is no frigate like a book"[1] theme. What sparkles through in both
poems is the appeal not just to the imagery but to the language of the old,
familiar tales - the "legendary lore of occident and orient", the "shadows
of the mystic pineland's gloom" would appear affected elsewhere, but are not
only accepted but positively demanded in the books to which the speaker
refers. The license to use them here comes not just from the poem, but from
its subject matter.

[1] and I note we've not run that one yet!

the trash can -- Charles Bukowski

Winding up the computer poetry theme, here's a poem suggested by
Salima Virani
(Poem #1421) the trash can
 this is great, I just wrote two
 poems I didn't like.

 there is a trash can on this
 computer.
 I just moved the poems
 over
 and dropped them into
 the trash can.

 they're gone forever, no
 paper, no sound, no
 fury, no placenta
 and then
 just a clean screen
 awaits you.

 it's always better
 to reject yourself before
 the editors do.

 especially on a rainy
 night like this with
 bad music on the radio.

 and now--
 I know what you're
 thinking:
 maybe he should have
 trashed this
 misbegotten one
 also.

 ha, ha, ha,
 ha.
-- Charles Bukowski
        (From Betting on the Muse - Poems and Stories
         Black Sparrow Press, 1996.)

I know we've just had a poem by Bukowski, but I was specifically on the
lookout for something on the role of computers in the creative process, and
when Salima sent me today's wonderful little piece, I knew I had to run it.
The light, perfectly balanced verse captures very well, the fluidity, almost
I could say the liberation, that the computer affords the wordsmith -
nothing is permanent unless you want it to be[1], erasing a word, a line, an
entire poem is no harder than a click of a button.

Words on paper have a definite inertia to them - the crossed out lines track
their way indelibly across the sheet, a visible and increasingly messy
record of a work's revision history. Contrast the aesthetic freedom of

                          no
         paper, no sound, no
         fury, no placenta
         and then
         just a clean screen
         awaits you.

And the poem itself definitely reflects that freedom, the lines pouring
forth with careless abandon until they reach a hilariously antipoetic
conclusion that made me laugh out loud. A fitting ending to the theme, I
think. Ha, ha, ha. Ha.

martin

[1] or sometimes, tragically, even if you do - see Poem #1420 :)

Hemingway Never Did This -- Charles Bukowski

Guest poem sent in by John K. Taber , who writes:
(Poem #1420) Hemingway Never Did This
 I read that he lost a suitcase full of manuscripts on a
 train and that they never were recovered.
 I can't match the agony of this
 but the other night I wrote a 3-page poem
 upon this computer
 and through my lack of diligence and
 practice
 and by playing around with commands
 on the menu
 I somehow managed to erase the poem
 forever.
 believe me, such a thing is difficult to do
 even for a novice
 but I somehow managed to do
 it.

 now I don't think this 3-pager was immortal
 but there were some crazy wild lines,
 now gone forever.
 it bothers more than a touch, it's some-
 thing like knocking over a good bottle of
 wine.

 and writing about it hardly makes a good
 poem.
 still, I thought somehow you'd like to
 know?

 if not, at least you've read this far
 and there could be better work
 down the line.

 let's hope so, for your sake
 and
 mine.
-- Charles Bukowski
Let's not quibble with Buk, and tell him about unerase commands, ok? The
point is, the matter of fact use of the computer in a poem.

I've been interested for years now in poems that incorporate the computer.
Contemporary poets don't usually condemn the machine, as liberal arts people
did when I was a student. Machines have stopped being Blake's "dark, Satanic
mills" and are accepted as part of the landscape. Once in a while, even,
machines are accepted too enthusiastically.

There was another I recall, can't remember the poet, but it went something
like "Green be thy screen!" It was the poet's gratitude for the convenience
of the computer for her in writing poems. Again, as Martin observed, some of
these poems quickly date. I'm old enough that green screens are strongly in
my memory, but I daresay many readers today have never seen a monochrome
monitor.

There is Brautigan's "Machines of Amazing Grace." I didn't cotton to his
poem because for me there is something chilling about benevolent machines
watching over me. [I didn't cotton to it either, mostly because it did
nothing for me, and because I can only take Brautigan in very short poems -
martin]

Still, there is a bunch of poems, enough I think to make an anthology.

John K. Taber

[Martin adds]

The thing I noticed about today's poem is that it is, in a sense, the mirror
image of the Jonas piece [Poem #1418] that introduced the theme.  Whereas
Jonas treated computers as a metaphor, using them as a poetic device to
illumine the age-old themes of love and loss, in Bukowski's poem the
computer is the *subject* of the work, a mundane fact of life that is in
turn illumined by the poem's metaphors. And, of course, an occurrence that
most readers can empathise with :)

Incidentally, while I was googling Bukowski (with whom I was unfamiliar), I
came across the following gem:

  some people never go crazy.
  what truly horrible lives
  they must lead.
     -- Charles Bukowski

Apropos of nothing - I just wanted to share it.

martin

[Links]

  Biography (a trifle clumsily written, but detailed, and with several links
  after it):
    http://www.popsubculture.com/pop/bio_project/charles_bukowski.html

  A nice Bukowski site:
    http://home.swipnet.se/~w-15266/cultur/bukowski/