Poet's Corner-Once Again, Walt Whitman's "Oh Captain, My Captain" and "When Lilacs.." In Honor Of American Civil War Leader Abraham Lincoln On His Birthday

Click on title to link to a film clip of Walt Whitman on YouTube lip-synching (for lack of a better term) his Oh Captain, My Captain.

Commentary

This is Walt Whitman's well-known homage to the fallen Civil War President, Abraham Lincoln. It deserves space in any left history blog. For an excellent musical rendition of this poem (and the inspiration for placing the poem here) listen to Carolyn Hester's "Carolyn Hester At Town Hall" recording from 1965.


O Captain! My Captain!

Walt Whitman

1

O CAPTAIN! my Captain! our fearful trip is done;
The ship has weather’d every rack, the prize we sought is won;
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring:
But O heart! heart! heart! 5
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.

2

O Captain! my Captain! rise up and hear the bells;
Rise up—for you the flag is flung—for you the bugle trills; 10
For you bouquets and ribbon’d wreaths—for you the shores a-crowding;
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head;
It is some dream that on the deck, 15
You’ve fallen cold and dead.

3

My Captain does not answer, his lips are pale and still;
My father does not feel my arm, he has no pulse nor will;
The ship is anchor’d safe and sound, its voyage closed and done;
From fearful trip, the victor ship, comes in with object won; 20
Exult, O shores, and ring, O bells!
But I, with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.



Walt Whitman (1819–1892). Leaves of Grass. 1900.

When Lilacs Last in the Door-yard Bloom’d
1

WHEN lilacs last in the door-yard bloom’d,
And the great star early droop’d in the western sky in the night,
I mourn’d—and yet shall mourn with ever-returning spring.

O ever-returning spring! trinity sure to me you bring;
Lilac blooming perennial, and drooping star in the west, 5
And thought of him I love.

2

O powerful, western, fallen star!
O shades of night! O moody, tearful night!
O great star disappear’d! O the black murk that hides the star!
O cruel hands that hold me powerless! O helpless soul of me! 10
O harsh surrounding cloud, that will not free my soul!

3

In the door-yard fronting an old farm-house, near the white-wash’d palings,
Stands the lilac bush, tall-growing, with heart-shaped leaves of rich green,
With many a pointed blossom, rising, delicate, with the perfume strong I love,
With every leaf a miracle......and from this bush in the door-yard, 15
With delicate-color’d blossoms, and heart-shaped leaves of rich green,
A sprig, with its flower, I break.

4

In the swamp, in secluded recesses,
A shy and hidden bird is warbling a song.

Solitary, the thrush, 20
The hermit, withdrawn to himself, avoiding the settlements,
Sings by himself a song.

Song of the bleeding throat!
Death’s outlet song of life—(for well, dear brother, I know
If thou wast not gifted to sing, thou would’st surely die.) 25

5

Over the breast of the spring, the land, amid cities,
Amid lanes, and through old woods, (where lately the violets peep’d from the ground, spotting the gray debris;)
Amid the grass in the fields each side of the lanes—passing the endless grass;
Passing the yellow-spear’d wheat, every grain from its shroud in the dark-brown fields uprising;
Passing the apple-tree blows of white and pink in the orchards; 30
Carrying a corpse to where it shall rest in the grave,
Night and day journeys a coffin.

6

Coffin that passes through lanes and streets,
Through day and night, with the great cloud darkening the land,
With the pomp of the inloop’d flags, with the cities draped in black, 35
With the show of the States themselves, as of crape-veil’d women, standing,
With processions long and winding, and the flambeaus of the night,
With the countless torches lit—with the silent sea of faces, and the unbared heads,
With the waiting depot, the arriving coffin, and the sombre faces,
With dirges through the night, with the thousand voices rising strong and solemn; 40
With all the mournful voices of the dirges, pour’d around the coffin,
The dim-lit churches and the shuddering organs—Where amid these you journey,
With the tolling, tolling bells’ perpetual clang;
Here! coffin that slowly passes,
I give you my sprig of lilac. 45

7

(Nor for you, for one, alone;
Blossoms and branches green to coffins all I bring:
For fresh as the morning—thus would I carol a song for you, O sane and sacred death.

All over bouquets of roses,
O death! I cover you over with roses and early lilies; 50
But mostly and now the lilac that blooms the first,
Copious, I break, I break the sprigs from the bushes;
With loaded arms I come, pouring for you,
For you, and the coffins all of you, O death.)

8

O western orb, sailing the heaven! 55
Now I know what you must have meant, as a month since we walk’d,
As we walk’d up and down in the dark blue so mystic,
As we walk’d in silence the transparent shadowy night,
As I saw you had something to tell, as you bent to me night after night,
As you droop’d from the sky low down, as if to my side, (while the other stars all look’d on;) 60
As we wander’d together the solemn night, (for something, I know not what, kept me from sleep;)
As the night advanced, and I saw on the rim of the west, ere you went, how full you were of woe;
As I stood on the rising ground in the breeze, in the cold transparent night,
As I watch’d where you pass’d and was lost in the netherward black of the night,
As my soul, in its trouble, dissatisfied, sank, as where you, sad orb, 65
Concluded, dropt in the night, and was gone.

9

Sing on, there in the swamp!
O singer bashful and tender! I hear your notes—I hear your call;
I hear—I come presently—I understand you;
But a moment I linger—for the lustrous star has detain’d me; 70
The star, my departing comrade, holds and detains me.

10

O how shall I warble myself for the dead one there I loved?
And how shall I deck my song for the large sweet soul that has gone?
And what shall my perfume be, for the grave of him I love?

Sea-winds, blown from east and west, 75
Blown from the eastern sea, and blown from the western sea, till there on the prairies meeting:
These, and with these, and the breath of my chant,
I perfume the grave of him I love.

11

O what shall I hang on the chamber walls?
And what shall the pictures be that I hang on the walls, 80
To adorn the burial-house of him I love?

Pictures of growing spring, and farms, and homes,
With the Fourth-month eve at sundown, and the gray smoke lucid and bright,
With floods of the yellow gold of the gorgeous, indolent, sinking sun, burning, expanding the air;
With the fresh sweet herbage under foot, and the pale green leaves of the trees prolific; 85
In the distance the flowing glaze, the breast of the river, with a wind-dapple here and there;
With ranging hills on the banks, with many a line against the sky, and shadows;
And the city at hand, with dwellings so dense, and stacks of chimneys,
And all the scenes of life, and the workshops, and the workmen homeward returning.

12

Lo! body and soul! this land! 90
Mighty Manhattan, with spires, and the sparkling and hurrying tides, and the ships;
The varied and ample land—the South and the North in the light—Ohio’s shores, and flashing Missouri,
And ever the far-spreading prairies, cover’d with grass and corn.

Lo! the most excellent sun, so calm and haughty;
The violet and purple morn, with just-felt breezes; 95
The gentle, soft-born, measureless light;
The miracle, spreading, bathing all—the fulfill’d noon;
The coming eve, delicious—the welcome night, and the stars,
Over my cities shining all, enveloping man and land.

13

Sing on! sing on, you gray-brown bird! 100
Sing from the swamps, the recesses—pour your chant from the bushes;
Limitless out of the dusk, out of the cedars and pines.

Sing on, dearest brother—warble your reedy song;
Loud human song, with voice of uttermost woe.

O liquid, and free, and tender! 105
O wild and loose to my soul! O wondrous singer!
You only I hear......yet the star holds me, (but will soon depart;)
Yet the lilac, with mastering odor, holds me.

14

Now while I sat in the day, and look’d forth,
In the close of the day, with its light, and the fields of spring, and the farmer preparing his crops, 110
In the large unconscious scenery of my land, with its lakes and forests,
In the heavenly aerial beauty, (after the perturb’d winds, and the storms;)
Under the arching heavens of the afternoon swift passing, and the voices of children and women,
The many-moving sea-tides,—and I saw the ships how they sail’d,
And the summer approaching with richness, and the fields all busy with labor, 115
And the infinite separate houses, how they all went on, each with its meals and minutia of daily usages;
And the streets, how their throbbings throbb’d, and the cities pent—lo! then and there,
Falling upon them all, and among them all, enveloping me with the rest,
Appear’d the cloud, appear’d the long black trail;
And I knew Death, its thought, and the sacred knowledge of death. 120

15

Then with the knowledge of death as walking one side of me,
And the thought of death close-walking the other side of me,
And I in the middle, as with companions, and as holding the hands of companions,
I fled forth to the hiding receiving night, that talks not,
Down to the shores of the water, the path by the swamp in the dimness, 125
To the solemn shadowy cedars, and ghostly pines so still.

And the singer so shy to the rest receiv’d me;
The gray-brown bird I know, receiv’d us comrades three;
And he sang what seem’d the carol of death, and a verse for him I love.

From deep secluded recesses, 130
From the fragrant cedars, and the ghostly pines so still,
Came the carol of the bird.

And the charm of the carol rapt me,
As I held, as if by their hands, my comrades in the night;
And the voice of my spirit tallied the song of the bird. 135

DEATH CAROL.

16

Come, lovely and soothing Death,
Undulate round the world, serenely arriving, arriving,
In the day, in the night, to all, to each,
Sooner or later, delicate Death.

Prais’d be the fathomless universe, 140
For life and joy, and for objects and knowledge curious;
And for love, sweet love—But praise! praise! praise!
For the sure-enwinding arms of cool-enfolding Death.

Dark Mother, always gliding near, with soft feet,
Have none chanted for thee a chant of fullest welcome? 145

Then I chant it for thee—I glorify thee above all;
I bring thee a song that when thou must indeed come, come unfalteringly.

Approach, strong Deliveress!
When it is so—when thou hast taken them, I joyously sing the dead,
Lost in the loving, floating ocean of thee, 150
Laved in the flood of thy bliss, O Death.

From me to thee glad serenades,
Dances for thee I propose, saluting thee—adornments and feastings for thee;
And the sights of the open landscape, and the high-spread sky, are fitting,
And life and the fields, and the huge and thoughtful night. 155

The night, in silence, under many a star;
The ocean shore, and the husky whispering wave, whose voice I know;
And the soul turning to thee, O vast and well-veil’d Death,
And the body gratefully nestling close to thee.

Over the tree-tops I float thee a song! 160
Over the rising and sinking waves—over the myriad fields, and the prairies wide;
Over the dense-pack’d cities all, and the teeming wharves and ways,
I float this carol with joy, with joy to thee, O Death!

17

To the tally of my soul,
Loud and strong kept up the gray-brown bird, 165
With pure, deliberate notes, spreading, filling the night.

Loud in the pines and cedars dim,
Clear in the freshness moist, and the swamp-perfume;
And I with my comrades there in the night.

While my sight that was bound in my eyes unclosed, 170
As to long panoramas of visions.

18

I saw askant the armies;
And I saw, as in noiseless dreams, hundreds of battle-flags;
Borne through the smoke of the battles, and pierc’d with missiles, I saw them,
And carried hither and yon through the smoke, and torn and bloody; 175
And at last but a few shreds left on the staffs, (and all in silence,)
And the staffs all splinter’d and broken.

I saw battle-corpses, myriads of them,
And the white skeletons of young men—I saw them;
I saw the debris and debris of all the dead soldiers of the war; 180
But I saw they were not as was thought;
They themselves were fully at rest—they suffer’d not;
The living remain’d and suffer’d—the mother suffer’d,
And the wife and the child, and the musing comrade suffer’d,
And the armies that remain’d suffer’d. 185

19

Passing the visions, passing the night;
Passing, unloosing the hold of my comrades’ hands;
Passing the song of the hermit bird, and the tallying song of my soul,
(Victorious song, death’s outlet song, yet varying, ever-altering song,
As low and wailing, yet clear the notes, rising and falling, flooding the night, 190
Sadly sinking and fainting, as warning and warning, and yet again bursting with joy,
Covering the earth, and filling the spread of the heaven,
As that powerful psalm in the night I heard from recesses,)
Passing, I leave thee, lilac with heart-shaped leaves;
I leave thee there in the door-yard, blooming, returning with spring, 195
I cease from my song for thee;
From my gaze on thee in the west, fronting the west, communing with thee,
O comrade lustrous, with silver face in the night.

20

Yet each I keep, and all, retrievements out of the night;
The song, the wondrous chant of the gray-brown bird, 200
And the tallying chant, the echo arous’d in my soul,
With the lustrous and drooping star, with the countenance full of woe,
With the lilac tall, and its blossoms of mastering odor;
With the holders holding my hand, nearing the call of the bird,
Comrades mine, and I in the midst, and their memory ever I keep—for the dead I loved so well; 205

For the sweetest, wisest soul of all my days and lands...and this for his dear sake;
Lilac and star and bird, twined with the chant of my soul,
There in the fragrant pines, and the cedars dusk and dim.

***Poet’s Corner-Young America’s Walt Whitman’s “Leaves Of Grass”

Click on title to link to Wikipedia's entry for poet Walt Whitman.

DVD Review

American Experience: Walt Whitman, Walt Whitman and various modern commentators, PBS Productions, 2008

Sure, it is always appropriate to thumb through the pages of the 19th century poet laureate of democracy Walt Whitman’s “Leaves Of Grass”. After wading through Emerson, Longfellow, Whittier and the other Brahmin and Brahmin wannabe poets who dominated the 19th century ‘aristocratic’ European-influenced American poetic academy old white-bearded Walt is like a breath of fresh air. And let’s put it this way, while everyone has, and should, take a peek at those other 19th century poets, if no other reason that to compare work, it is old Walt that those of us in the 21st century WANT to read. Therefore, it is appropriate that PBS’s “American Experience" in 2008 produce a documentary that is, while filled with biographic information, centered on Whitman’s long struggle to produce his masterpiece, “Leaves Of Grass”.

This documentary does yeoman’s service in setting the context in which Walt Whitman had to work, including the trials and tribulations of his long suffering over his troubled working class family affairs; his free-wheeling experiences in breaking out of the family and establishing himself as a newspaper writer in New York City in the pre-Civil War period; his invention of himself as a 'proto-hippie' in that city’s bohemian milieu: his various, mainly homosexual, romantic experiences that eventually find themselves noted heavily throughout his master work; his dramatic and traumatic Civil War time nursing services to the Union wounded; the shock of Lincoln’s death; and, his post-war struggles to expand and deepen his poetic works. That sets the pace for the many ‘talking head’ academic commentaries about the meaning of Whitman’s work, his place as the poetic, warts and all, 19th century democratic champion of the fragile American republican experience, and the breakthrough nature of the more or less explicit sexual, erotic and homoerotic passages in his work.

Finally, poets like other types of writers, run through period of fashion and neglect. My recent road back to an appreciation of Whitman is a case in point. I have been running through (for the nth time) and reviewing the work of the 1950s “beat” writer Jack Kerouac (himself the subject of the vicissitudes of fashion) in this space. Kerouac makes clear (as do many other writers and poets) that Whitman’s poems, his lifestyle and his championship of the “common man” deeply influenced him in his early formative days as he struggled to write. That is a very common story when the name Walt Whitman comes up. So if you need a little refresher on Whitman this well-done documentary fills the bill. But, really, go read some of his poems


Walt Whitman - One’s-Self I Sing.

ONE’S-SELF I sing—a simple, separate Person;
Yet utter the word Democratic, the word En-masse.

Of Physiology from top to toe I sing;
Not physiognomy alone, nor brain alone, is worthy for the muse—I say the
Form complete is worthier far;
The Female equally with the male I sing.

Of Life immense in passion, pulse, and power,
Cheerful—for freest action form’d, under the laws divine,
The Modern Man I sing.

Walt Whitman - To a Historian.

YOU who celebrate bygones!
Who have explored the outward, the surfaces of the races—the life that has
exhibited itself;
Who have treated of man as the creature of politics, aggregates, rulers and
priests;
I, habitan of the Alleghanies, treating of him as he is in himself, in his own
rights,
Pressing the pulse of the life that has seldom exhibited itself, (the great
pride of man in himself;)
Chanter of Personality, outlining what is yet to be,
I project the history of the future.

Walt Whitman - Pioneers! O Pioneers!


1
COME, my tan-faced children,
Follow well in order, get your weapons ready;
Have you your pistols? have you your sharp edged axes? Pioneers! O pioneers!

2
For we cannot tarry here,
We must march my darlings, we must bear the brunt of danger,
We, the youthful sinewy races, all the rest on us depend, Pioneers! O pioneers!

3
O you youths, western youths,
So impatient, full of action, full of manly pride and friendship,
Plain I see you, western youths, see you tramping with the foremost, Pioneers! O
pioneers!

4
Have the elder races halted?
Do they droop and end their lesson, wearied, over there beyond the seas?
We take up the task eternal, and the burden, and the lesson, Pioneers! O pioneers!

5
All the past we leave behind;
We debouch upon a newer, mightier world, varied world,
Fresh and strong the world we seize, world of labor and the march, Pioneers! O pioneers!

6
We detachments steady throwing,
Down the edges, through the passes, up the mountains steep,
Conquering, holding, daring, venturing, as we go, the unknown ways, Pioneers! O pioneers!


7
We primeval forests felling,
We the rivers stemming, vexing we, and piercing deep the mines within;
We the surface broad surveying, we the virgin soil upheaving, Pioneers! O pioneers!

8
Colorado men are we,
From the peaks gigantic, from the great sierras and the high plateaus,
From the mine and from the gully, from the hunting trail we come, Pioneers! O pioneers!

9
From Nebraska, from Arkansas,
Central inland race are we, from Missouri, with the continental blood intervein’d;
All the hands of comrades clasping, all the Southern, all the Northern, Pioneers! O
pioneers!


10
O resistless, restless race!
O beloved race in all! O my breast aches with tender love for all!
O I mourn and yet exult—I am rapt with love for all, Pioneers! O pioneers!

11
Raise the mighty mother mistress,
Waving high the delicate mistress, over all the starry mistress, (bend your heads all,)
Raise the fang’d and warlike mistress, stern, impassive, weapon’d mistress, Pioneers! O
pioneers!

12
See, my children, resolute children,
By those swarms upon our rear, we must never yield or falter,
Ages back in ghostly millions, frowning there behind us urging, Pioneers! O pioneers!

13
On and on, the compact ranks,
With accessions ever waiting, with the places of the dead quickly fill’d,
Through the battle, through defeat, moving yet and never stopping, Pioneers! O pioneers!


14
O to die advancing on!
Are there some of us to droop and die? has the hour come?
Then upon the march we fittest die, soon and sure the gap is fill’d, Pioneers! O
pioneers!

15
All the pulses of the world,
Falling in, they beat for us, with the western movement beat;
Holding single or together, steady moving, to the front, all for us, Pioneers! O
pioneers!

16
Life’s involv’d and varied pageants,
All the forms and shows, all the workmen at their work,
All the seamen and the landsmen, all the masters with their slaves, Pioneers! O pioneers!


17
All the hapless silent lovers,
All the prisoners in the prisons, all the righteous and the wicked,
All the joyous, all the sorrowing, all the living, all the dying, Pioneers! O pioneers!

18
I too with my soul and body,
We, a curious trio, picking, wandering on our way,
Through these shores, amid the shadows, with the apparitions pressing, Pioneers! O
pioneers!

19

Lo! the darting bowling orb!
Lo! the brother orbs around! all the clustering suns and planets,
All the dazzling days, all the mystic nights with dreams, Pioneers! O pioneers!

20
These are of us, they are with us,
All for primal needed work, while the followers there in embryo wait behind,
We to-day’s procession heading, we the route for travel clearing, Pioneers! O pioneers!

21
O you daughters of the west!
O you young and elder daughters! O you mothers and you wives!
Never must you be divided, in our ranks you move united, Pioneers! O pioneers!

22
Minstrels latent on the prairies!
(Shrouded bards of other lands! you may sleep—you have done your work;)
Soon I hear you coming warbling, soon you rise and tramp amid us, Pioneers! O pioneers!

23
Not for delectations sweet;
Not the cushion and the slipper, not the peaceful and the studious;
Not the riches safe and palling, not for us the tame enjoyment, Pioneers! O pioneers!

24
Do the feasters gluttonous feast?
Do the corpulent sleepers sleep? have they lock’d and bolted doors?
Still be ours the diet hard, and the blanket on the ground, Pioneers! O pioneers!

25
Has the night descended?
Was the road of late so toilsome? did we stop discouraged, nodding on our way?
Yet a passing hour I yield you, in your tracks to pause oblivious, Pioneers! O pioneers!


26
Till with sound of trumpet,
Far, far off the day-break call—hark! how loud and clear I hear it wind;
Swift! to the head of the army!—swift! spring to your places, Pioneers! O pioneers.

Poet's Corner- Walt Whitman's 'Oh Captain, My Captain' In Honor Of Abraham Lincoln's 200th Birthday Anniversary

Commentary

This is Walt Whitman's well-known homage to the fallen Civil War President, Abraham Lincoln. It deserves space in any left history blog. For an excellent musical rendition of this poem (and the inspiration for placing the poem here) listen to Carolyn Hester's "Carolyn Hester At Town Hall" recording from 1965.


O Captain! My Captain!

Walt Whitman

1

O CAPTAIN! my Captain! our fearful trip is done;
The ship has weather’d every rack, the prize we sought is won;
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring:
But O heart! heart! heart! 5
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.

2

O Captain! my Captain! rise up and hear the bells;
Rise up—for you the flag is flung—for you the bugle trills; 10
For you bouquets and ribbon’d wreaths—for you the shores a-crowding;
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head;
It is some dream that on the deck, 15
You’ve fallen cold and dead.

3

My Captain does not answer, his lips are pale and still;
My father does not feel my arm, he has no pulse nor will;
The ship is anchor’d safe and sound, its voyage closed and done;
From fearful trip, the victor ship, comes in with object won; 20
Exult, O shores, and ring, O bells!
But I, with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.

On The Anniversary Of The Beginning Of The American Civil War- The Literature Of The Civil War

Click on the headline to link to a Boston Sunday Globe article, dated Sunday April 10, 2011, detailing the various literary attempts to portray the struggles and human drama unleashed by the American Civil War.

Markin re-post comment:

Thursday, April 15, 2010

*The Modern Southern Literary View Of The American Civil War Period- William Faulkner’s “Absalom, Absalom!"

Click on the headline to link to a "Wikipedia" entry for the American novelist, William Faulkner.

Book Review

Absalom, Absalom!, William Faulkner, The Modern Library, New York, 1936

I am here to tell you that not every great book that describes the human struggle as we emerged from the mud has to be written from a leftist progressive political perspective, although usually it helps. The novelist, self-proclaimed white racial purist, and Mississippi partisan, William Faulkner, with this very complicated and somewhat rambling novel placed himself front and center in the pantheon of American literary figures who have tried to confront the daunting task of making great literature out of the slavery-driven plantation society of the ante bellum South and of that same locale in the period of defeat after the Civil War. One does not have to sign up for membership in the William Faulkner political fan club to realize that he has created something that speaks to that very contradictory, and at times incomprehensible, human drive to succeed as it has evolved thus far. He does not pull his punches or hold back on the grizzly picture that he paints.

Let me explain that last sentence. I was put on the trail of Faulkner this time, having previously reviewed his “Sanctuary” in this space, by reading and reviewing a book titled “The Unwritten War” by Daniel Aaron. Aaron’s major thesis is that the social, political and military dimensions of the American Civil experience, for both sides, were so traumatic and overwhelming that it took a figure removed in time, like Faulkner, to have a realistic shot at writing the “great American Civil War novel”. Aaron runs through the litany of great American literary figures that did, or did not, try to create such a work in the immediate post-war period and came up dry until the emergence of Faulkner (and, possibly, the “Agrarians” like Robert Penn Warren). One can agree or disagree with Professor Aaron's thesis but it hard to argue, at an artistic level, that Faulkner’s work here, especially the portrait of the central character, Thomas Sutpen, as he emerges from the descriptions of several fellow townspeople, including characters from other Faulkner novels, of the mythical Jefferson, Mississippi is not a serious candidate for that honor.

And what do we have here in the four hundred or so pages of this novel. A description of the intricate web of the roots of one branch of the slavery economy in the French West Indies as it connects to the then (1830’s) virgin Mississippi lands suitable for plantation creation. The trials and tribulations of two varieties of “poor white trash” (Sutpen, and later his overseer). The Civil War as refracted though small town Southern life. Miscegenation. Lust. Incest. Murder, Almost murder. Wannabe murder. Abortion. Southern gentility. Not so gentile Southern life. Ghosts, real and imagined. Fear of going forward. Fear of going back. Hatred of the North. Hatred of the South. Carpetbaggers. Scalawags. Almost every social and human experience, except any serious description of the hated n----r in post-Civil War society, and except as monsters. And that is only a start. So here is the “real deal”. Goddam, William Faulkner can write a hell of a novel. Nevertheless, after reading this novel, I will stick with the lyrics in Nina Simone’s old 1960’s Civil Rights-inspired song- “Mississippi, Goddam"


"Mississippi Goddam"- Nina Simone- 1963

The name of this tune is Mississippi goddam
And I mean every word of it

Alabamas gotten me so upset
Tennessee made me lose my rest
And everybody knows about mississippi goddam

Alabamas gotten me so upset
Tennessee made me lose my rest
And everybody knows about mississippi goddam

Cant you see it
Cant you feel it
Its all in the air
I cant stand the pressure much longer
Somebody say a prayer

Alabamas gotten me so upset
Tennessee made me lose my rest
And everybody knows about mississippi goddam

This is a show tune
But the show hasnt been written for it, yet

Hound dogs on my trail
School children sitting in jail
Black cat cross my path
I think every days gonna be my last

Lord have mercy on this land of mine
We all gonna get it in due time
I dont belong here
I dont belong there
Ive even stopped believing in prayer

Dont tell me
I tell you
Me and my people just about due
Ive been there so I know
They keep on saying go slow!

But thats just the trouble
Do it slow
Washing the windows
Do it slow
Picking the cotton
Do it slow
Youre just plain rotten
Do it slow
Youre too damn lazy
Do it slow
The thinkings crazy
Do it slow
Where am I going
What am I doing
I dont know
I dont know

Just try to do your very best
Stand up be counted with all the rest
For everybody knows about mississippi goddam

I made you thought I was kiddin didnt we

Picket lines
School boy cots
They try to say its a communist plot
All I want is equality
For my sister my brother my people and me

Yes you lied to me all these years
You told me to wash and clean my ears
And talk real fine just like a lady
And youd stop calling me sister sadie

Oh but this whole country is full of lies
Youre all gonna die and die like flies
I dont trust you any more
You keep on saying go slow!
Go slow!

But thats just the trouble
Do it slow
Desegregation
Do it slow
Mass participation
Do it slow
Reunification
Do it slow
Do things gradually
Do it slow
But bring more tragedy
Do it slow
Why dont you see it
Why dont you feel it
I dont know
I dont know

You dont have to live next to me
Just give me my equality
Everybody knows about mississippi
Everybody knows about alabama
Everybody knows about mississippi goddam

Thats it!

*Poets' Corner- Walt Whiman- Emily Dickinson- Herman Melville- A Guest Book Review

Click on the headline to link to a guest article about Poets Walt Whitman- Emily Dickinson- Herman Melville.

Poet’s (And Songwriter too) Corner- Van Morrison’s “Rave On John Donne”

Click on to the headline to link to a YouTube film clip of Van Morrison performing his Rave On John Donne.

Markin comment:I have been mad for John Donne’ s poetry ever since I read his poem Death, Be Not Proud. Yes, I know that he was a metaphysical poet (the two-hearts business) but he “spoke” to me and still “speaks” to me. Fortunately, we communists are indifferent to a person's personal likes (and dislikes) in music, poetry, literature and art or I would be in big trouble with touting Brother Donne. Thankfully he is long gone and cannot, reasonably, be cited as an active counter-revolutionary and therefore a person we would have to do something about. Whee! Put the subject John Donne (and other poets, mad men Whitman and Yeats) in a song done by Van Morrison and you have something that catches my attention every time. No question.
******
Rave On John Donne lyrics by Van Morrison

Rave on John Donne, rave on thy Holy fool
Down through the weeks of ages
In the moss borne dark dank pools

Rave on, down through the industrial revolution
Empiricism, atomic and nuclear age
Rave on down through time and space down through the corridors
Rave on words on printed page

Rave on, you left us infinity
And well pressed pages torn to fade
Drive on with wild abandon
Uptempo, frenzied heels

Rave on, Walt Whitman, nose down in wet grass
Rave on fill the senses
On nature's bright green shady path

Rave on Omar Khayyam, Rave on Kahlil Gibran
Oh, what sweet wine we drinketh
The celebration will be held
We will partake the wine and break the Holy bread

Rave on let a man come out of Ireland
Rave on on Mr. Yeats,
Rave on down through the Holy Rosey Cross
Rave on down through theosophy, and the Golden Dawn
Rave on through the writing of "A Vision"
Rave on, Rave on, Rave on, Rave on, Rave on, Rave on

Rave on John Donne, rave on thy Holy fool
Down through the weeks of ages
In the moss borne dark dank pools

Rave on, down though the industrial revolution
Empiricism, atomic and nuclear age