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Punch counter punch

Sunday, November 25th, 2018

[ by Charles Cameron — a perfect two-snake pattern from the WaPo headline writers ]
.

As patterns go, this one is hard to beat:

Source:

  • Washington Post, John Roberts counterpunches the counterpunching president
  • **

    As you may have gathered, the human propensity for patterning is an enduring interest of mine, and my collecting of such things as ouroboroi, parallelisms, paradoxes, moebius formats and mirrorings is effectively a small pattern language study after the example of Christopher Alexander‘s Pattern Language. Mine, drawing its materials from verbal and visual exemplars rather than architectural ones, perhaps reveals more about the workings of the human mind, aka consciousness.

    The “outer world” has yet to catch up with the significance of these studies..

    **

    At a time when my worldly goods in book form consisted of fifty or so over-thumbed, used science fiction paperbacks and one hardback — I no longer recall what it was — I won a minor poetry prize of $50 and decided it was better to splurge it on one thing I’d really treasure than to dribble it away, a coffee here, a sandwich there.. much though I like my coffees.

    Henbce, for about $45, I aacquired my copy of Alexander’s book — hardback #2!

    An I Ching for the West! Nobel-worthy! A Master’s Masterpiece!

    Pulitzer : Lamar :: Nobel : Dylan?

    Friday, April 20th, 2018

    [ by Charles Cameron — with the nost remarkable, beautiful, unexpected, unexpectable music at the very end, a total surprise ]
    .

    Kendrick Lamar just won the Pulitzer for music. A small while back, Bob Dylan won the Nobel Prize for Literature.

    I haven’t seen anyone comparing Kendrick Lamar‘s Pulitzer fuss with Bob Dylan‘s Nobel shenanigans — yet.

    **

    The black on white of the Dylan lyrics (upper panel, above) and the white on black of the Lamar lyrics (lower panel, above) aren’t racially intended, nor do they represent good and evil as so commonly elsewhere — and in any case, in black on white is it the black or the white that carries the meaning, and vice versa — but in the case of white on black, which do you notice most? And above, below, what do they mean?

    Both, and.

    Good’n’evil, rock’n’roll. Rock on, world.

    **

    Sources:

    These two will give you the surprise, surprise narratives:

  • New York Times, Bob Dylan Wins Nobel Prize, Redefining Boundaries of Literature
  • NPR, How The Pulitzer Jury Opened Its Doors To Hip-Hop
  • And those two headlines make a nice contrapuntal DoubleQuote, too.

    **

    Me, I’ve been listening to Dylan since I could crawl and he was folk, and had never consciously heard the words Kendrick Lamar until yesterday, when I started in on this piece.

    Sources:

    Here are the two musics from which the lytrics posted above are taken, both of which you may skip if you know them already:

    and:

    **

    But. And. Yet. Also. Splutter —

    My remarkable discovery of the day.. It’s Caroline Shaw‘s astounding Partita for 8 Voices, written for and sung by Roomful of Teeth. Listen closely, beauty is born fresh here:

    Kudos, where kudos due:

  • Slate, Classical Music Needs Kendrick Lamar More Than It Needs the Pulitzer
  • **

    Okay, just in case — what I hear:

    Human voice sound poetry of Henri Chopin — I visited him briefly circa 1965 — via Glenn Gould‘s polyphonic voice radio plays, meeting Machaut, via Morten Lauridsen‘a O Magnum Mysterium, plus what funk meant first, before it was limited to funk — a twisty ringing of changes in sound: cough, swoop, taal, stutter and bend weaving in and out of dissonance, of purity..

    Utterly fresh and brilliantly performed: watch and listen..

    And tell me below if you knew this wonder already.

    And you know something’s happening, but you don’t know what it is, do you, Mr. Jones?

    Monday, August 28th, 2017

    [ by Charles Cameron — gulf water temperatures 2° above average fuel winds, flooding in TX ]

    Furthermore,

    **

    These frank admissions that we have gone beyond the known signal a qualitative shift in the situation.

    You don’t know what it is, do you, Mr. Jones?

    It’s altogether a hard rain falling..

    If your memory serves you well..

    Wednesday, June 7th, 2017

    [ by Charles Cameron — Muslim travel ban DoubleQuoted with Japanese internment camps, history rhyming, Ginsberg on Dylan’s national rhyme ]
    .

    Anna O Law (The Immigration Battle in American Courts, Cambridge, 2014) made the connection:

    **

    What kind of rhyme is that anyway, Mister History?

    Is it one like:

    Idiot wind, blowing everytime you move your jaw,
    From the Grand Coulee Dam to the Mardi Gras.

    — the first version the current Nobel Laureate in Literature tried out — or this, definitive one? —

    Idiot wind, blowing like a circle around my skull,
    From the Grand Coulee Dam to the Capitol.

    **

    The question interests me because there’s a back-level where the rhyme is in the concept, not the sound of the words as pronounced by poet or listener, reader — as with the rhyme womb / tomb, where before-birth and after-death meet both soncally and conceptually, making life freshly worthwhile as only the mechanics of poetry can.

    Ginsberg explains:

    Christopher Ricks, who has also penned books about T. S. Eliot and John Keats, argues that Dylan’s lyrics not only qualify as poetry, but that Dylan is among the finest poets of all time, on the same level as Milton, Keats, and Tennyson. He points to Dylan’s mastery of rhymes that are often startling and perfectly judged. For example, this pairing from “Idiot Wind,” released in 1975:

    Idiot wind, blowing like a circle around my skull,
    From the Grand Coulee Dam to the Capitol

    The metaphorical relation between the head and the head of state, both of them two big domes, and the “idiot wind” blowing out of Washington, D.C., from the mouths of politicians, made this particular lyric the “great disillusioned national rhyme,” according to Allen Ginsberg.

    Ginsberg’s formidable liking for this rhyme is part of what got him invited to Dylan’s Rolling thunder Review:

    Ginsberg’s tribute to that rhyme is one of the reasons he is here with Bob and Joan and the rest of the merry motley. It was, says Allen, “one of the little sparks of intelligence that passed between Bob and me and that led him to invite me on the tour.”

    **

    I caught the rolling thunder in Fort Collins:

    **

    Ah yes.

    And If your memory serves you well is, as I recall via Google, Dylan’s top of the hat to Rimbaud‘s A Season in Hell, which opens with the words:

    Jadis, si je me souviens bien, ma vie était un festin où s’ouvraient tous les cœurs, où tous les vins coulaient.

    This Wheel’s On Fire, lyrics by that Nobel fellow, Rick Danko and the Band:

    **

    Memory, pattern, association, analogy, history, learning.

    And Dylan on how literature works on you a similar wonder — in his recently released Nobel speech:

    Music to my ears.


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