Jerome Rothenberg: After Gorky’s 'The Betrothal,' poem & autovariation, 1966 & 2014
[Using the procedure of “variations” that I began with The Lorca Variations (1993) I turn it here toward my own earlier work & show, below, both a poem from 1966 & the corresponding autovariation from 2014. In the present instance I’ve gone back to a poem written & published as part of a book called “The Gorky Poems,” and, as in the “variations” I’ve done from other poets, I systematically remove all nouns from the original & use them as building blocks or what Jackson Mac Low used to call “nuclei” in the construction of an otherwise “original” poem.
For this the directive is from Henri Matisse, in an exchange with Gino Severini: “One should be able to rework an old work at least once – to make sure that one has not fallen victim – to one’s nerves or to fate.” And again: “When you have achieved what you want in a certain area, when you have exploited the possibilities that lie in one direction, you must, when the time comes, change course, search for something new.”]
THE BETROTHAL (1966)
from The Gorky Poems
How they began it. Dead bodies
moved in the flowerbed, a finger stopping & turning, showing
a page & an ocean, a longboard covered with stars. In the
great night
my heart will go out, will be scooped from me, swept thru the
water
follow the plane’s route, a place
where boats meet like lovers
in couples, the heart of the diamond, the cyclotron’s heart, its spaces
cleaving me, leaving me dead.
I was dead.
Who steps from the sea to meet me?
Another dead body, a heart like a cucumber
cold, green, in the ice-covered room, receiving my heart
the taste of my blood in her mouth.
Her dead mouth.
The passage into her darkness, a gutter
a rainpassage
country of clouds & the blue lips of women.
A hand slides under his shirt. He grows hard. The dancers
forget where the light is
& fall, the dancers forget
they falter
their hands break the glass
a finger stopping & turning, showing
a skull. Lift the hammer
& over your head lift the icecap.
Smash thru the air. The air freezes &
freezes against you
covers your hair & your teeth, slits your gums, draws bile
thru your nose.
To the sound of drums, the cry of walruses, the beating of
a heart
not my own
to the beating of a heart not my own
I was turning.
In the trunk I was turning.
Among crushed hat I was turning.
Under a crushed sun I was turning.
I turned with the sun. A faucet
was turning
black water spilt from a glass.
Starting & turning, returning
& starting. A penny.
A seal.
An umbrella.
An American flag.
A wishbone.
A derrick.
A place.
We called it a place by subtraction.
THE BETROTHAL (2014)
from The Gorky Variations
he points a finger
at the stars
a cyclotron of racing bodies
like a plane in flight
a darkness in which
lovers struggle
women’s hands
grow hard
the country hides them
hammers strike the air
blood turns into ice
the way the dead do
there is more bile in this
than heretofore
the cry of water
when the sun comes out
crushed hats
will suit no head
no heart beat
like a drum
a black umbrella
place determined by
subtraction
sealed & sold
the skull has lost
its gums & lips
deprived of air the dancers
search a passage
leading to a passage
where the sea waits
with its boats
a taste for breaking free
leaving his bed behind
to test the water
set the ocean shining
like a diamond
flower for a heart
the places & the spaces
that a heart fills
vacant heartless
blue cucumber
frozen rain
that falls so hard
his mouth can’t hold it
ice forms on my shirt
my cap the beating
of my heart
a feeble sound
teeth clenched
a faucet dripping
pennies clinking in a glass
a trunk half full
where a derrick lifts
the bodies of the dead
abandoned couples
line the route
they watch & wonder
turn a page
that leads them to a room
at night bewildered
heart in mouth
& hand aquiver
clouds reflected in a glass
sun in the gutter
the hair atop my head
inside my nose
has come alive
my wish is fatal
wounded split
a false betrothal
ice invades their bodies
down to the bone
Poems and poetics