Author Archives: Robin Helweg-Larsen

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About Robin Helweg-Larsen

Director, Andromeda Simulations International, Bahamas: a global education company providing online and in-person workshops in business finance. Series Editor, Sampson Low's 'Potcake Chapbooks'. Formal verse about traveling, family, love, etc...

Potcake Poet’s Choice: Marcus Bales, ‘Miniver Cheever III’

Miniver Cheevy Junior’s kid
Despised his own contemporaries,
Like his poetic forebears did,
As functionaries.

Miniver missed old apartheids,
South Africa and Mississippi,
And longed to go on freedom rides
And lay a hippie.

Miniver yearned for days gone by,
For free love’s newly bra-less boobies,
For Woodstock, rock and roll, tie-dye,
And smoking doobies.

Miniver mourned for Owsley Blue,
The name, he understood, for acid.
At Kool-Aid Tests and love-ins, too,
He’d be less flaccid.

Miniver loved the Beatles, Stones,
Frank Zappa, Zep, and, yes, the Monkees;
He didn’t care, he had a jones
For tuneful junkies.

He cursed the mosh-pit debutantes,
And viewed hip-hop with open loathing;
He missed the sight of Mary Quant’s
Bell-bottomed clothing.

He metaphored and analogued
And similed to try to flout it;
Miniver blogged, and blogged, and blogged,
And blogged about it.

And so there’s Miniver number three,
Who’s no more dour but no less bitter.
He shakes his head and sighs. Then he
Logs in to Twitter.

Marcus Bales writes: “Here’s one that has its own built-in reason for writing it: DF Parry had done such a good job, who could resist? But Miniver Cheevy III was written so long ago, now, that possibly it’s time to explore IV.”

Not much is known about Marcus Bales except that he lives and works in Cleveland, Ohio, and that his work has not been published in Poetry or The New Yorker. However his “51 Poems” is available from Amazon. He has been published in several of the Potcake Chapbooks (“form in formless times”), and would like you to be familiar with the forerunners to his ‘Miniver Cheevy III’:

‘Miniver Cheevy, Jr.’ by D.F. Parry

Miniver Cheevy, Jr., child
Of Robinson’s renowned creation
Also lamented and reviled
His generation.

Miniver similarly spurned
The present that so irked his pater,
But that langsyne for which he yearned
Came somewhat later.

Miniver wished he were alive
When dividends came due each quarter,
When Goldman Sachs was 205
And skirts were shorter.

Miniver gave no hoot in hell
For Camelot or proud Troy’s pillage;
He would have much preferred to dwell
In Greenwich Village.

Miniver cherished fond regrets
For days when benefits were boundless;
When radios were crystal sets
And movies soundless.

Miniver missed the iron grills,
The whispered word, the swift admission,
The bath-tub gin, and other thrills
Of Prohibition.

Miniver longed, as all men long,
To turn back time (his eyes would moisten),
To dance the Charleston, play mah jong
And smuggle Joyce in.

Miniver Cheevy, Jr., swore
And drank until the drink imperiled
Health, then sighed, and read some more
F. Scott Fitzgerald.

The original, of course, is Miniver Cheevy‘ by Edwin Arlington Robinson:

Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons;
He wept that he was ever born,
And he had reasons.

Miniver loved the days of old
When swords were bright and steeds were prancing;
The vision of a warrior bold
Would set him dancing.

Miniver sighed for what was not,
And dreamed, and rested from his labors;
He dreamed of Thebes and Camelot,
And Priam’s neighbors.

Miniver mourned the ripe renown
That made so many a name so fragrant;
He mourned Romance, now on the town,
And Art, a vagrant.

Miniver loved the Medici,
Albeit he had never seen one;
He would have sinned incessantly
Could he have been one.

Miniver cursed the commonplace
And eyed a khaki suit with loathing;
He missed the mediæval grace
Of iron clothing.

Miniver scorned the gold he sought,
But sore annoyed was he without it;
Miniver thought, and thought, and thought,
And thought about it.

Miniver Cheevy, born too late,
Scratched his head and kept on thinking;
Miniver coughed, and called it fate,
And kept on drinking.

Experimental Poem: ‘Pointillist’

(Note: this poem is so named because if you look at it closely you may not find as much meaning as if you step back, let it flow past you, and see an outline of a story.)

Awake
Anew
Awhile
Askew;
Afoot
Among
Amass
Along;
Abet
Aback
Ado
Alack;
Alas!

Abroad
Again
Astride
Amain;
Atop
Alight
Aglow
Afright;
Afar
Ahead
Aloft
Abed;
Alone!

Aware
Amused
Affair
Accused;
Away
Aboard
Affray
Abhorred;
Aground
Alive
Abound
Arrive;
Ahoy!

Array
Await
Assay
Abate;
Appraise
Accord
Amaze
Adored;
Apprise
Appoint
Arise
Anoint;
Adieu!

This poem started (if I remember correctly) as four or five of the early words coming into my head with a sense of rhyme and rhythm when I was on the point of falling asleep. I roused myself enough to write the words down, doing what I consider an essential part of the communication I long for with my unconscious, my Muse–acknowledge the Muse by writing whatever is offered to you, whether or not it is complete or makes sense.

The next day I wrote more, keeping to iambic monometer and words of Anglo-Saxon derivation beginning with A. As a hint of a story took shape, I kept writing. After the first two stanzas I moved over into words of Latin derivation and went for more intense rhyme. Long lists of words were involved. After four days I had the whole poem.

As for the story itself… I see a hero setting out, failing, trying again, under threat, escaping by boat, shipwrecked, and finally rewarded. Are they male or female, and of what age? Did they have a love affair? Did they end up at home or in foreign lands? If you look at the poem sideways you may find an answer that suits you. Or (of course) not.

‘Pointillist’ was the second of five poems recently published in the Poetry section of The Brazen Head.

Pointillistically abstracted” by readerwalker is marked with CC BY-NC-SA 2.0.

Potcake Poet’s Choice: Max Gutmann, ‘Raindroppings’

Can anyone make out
The quality inherent
In being with an umbrella, that makes people without
Completely transparent?

On the rainiest days,
In the hardest of showers,
People with umbrellas courteously step out of other umbrella’d people’s ways
Right into ours.

Or, if as it starts
To really pour, ya
Dash for the shelter of a little awning, sure as rain’s wet someone with an umbrella darts
Under it before ya.

And you look at the fella
As you stand in the steady
Downpour, but he ain’t gonna budge, ’cause, as any one-eyed idiot could plainly see, his umbrella
Is wet enough already.

Beyond disputation,
We already hear a lot
About the many forms of indiscriminate discrimination
Our world has got.

Still, I wish some teller’d
Deign to tell us
The reasons for the way the umbrellered
Treat the umbrell’less.

Max Gutmann writes: “In ‘Raindroppings,’ a line of OgdenNashian length is part of each otherwise regularly metered quatrain. These lines get longer and longer, and then shorter and shorter. I hope this helps the poem feel both sillily loose, and formally structured: the topic, though it may sound invented, is an actual aspect of human nature, trivial in itself but reflective of more serious attitudes.”

Max Gutmann has worked as, among other things, a stage manager, a journalist, a teacher, an editor, a clerk, a factory worker, a community service officer, the business manager of an improv troupe, and a performer in a Daffy Duck costume. Occasionally, he has even earned money writing plays and poems.

linkmaxgutmann.com

‘Raindroppings’ was first published in Light Quarterly

Photo: “Downpour” by roeyahram is marked with CC BY-NC-ND 2.0.

Odd poem: Edward Lear, ‘Imitation of the Olden Poets’

Time is a taper waning fast!
Use it, man, well whilst it doth last:
Lest burning downwards it consume away,
Before thou hast commenced the labour of the day.

Time is a pardon of a goodly soil!
Plenty shall crown thine honest toil:
But if uncultivated, rankest weeds
Shall choke the efforts of the rising seeds.

Time is a leasehold of uncertain date!
Granted to thee by everlasting fate.
Neglect not thou, ere thy short term expire,
To save thy soul from ever-burning fire.

This poem is a gorgeous piece of deliberately bad verse. Edward Lear had a wonderful ear for rhythm, and this appalling piece is a great jab at poets who, even to a Victorian like Lear, were long out of date: meaning, syntax and prosody are all garbled, wrapping around bland but unclear moralising exhortations.

The first line of each stanza ends with an exclamation mark even if, as in verse three, it is in the middle of a sentence.

The very first line has four simple feet in iambic tetrameter, eight syllables.
The second line also has eight syllables but manages to make the rhythm stumble through poor phrasing.
The third line has ten syllables; it can be read as iambic pentameter, but the previous lines encourage an attempt to keep to four slightly crowded feet.
The fourth line goes to twelve syllables, at which point the prosody is collapsing towards Lear’s younger contemporary, William McGonagall–you either cram everything into four feet, or let the stanza dribble out in too many iambics.

The second stanza begins “Time is a pardon of a goodly soil!” Very affirmative, but what does it mean? And are we back to pentameters now? It’s not clear–the second line is definitely tetrameter… so how to read the third and fourth lines?

The last stanza is pure iambic pentameter. The chaos is in the confused understanding of time, “a leasehold of uncertain date”, but is somehow part of “everlasting fate”. Similarly “thy short term” is shadowed by “ever-burning fire”. On balance, time appears to be represented as infinite–events are portrayed as everlasting–but time is also called “a leasehold of uncertain date”; that phrase is merely a poor expression that confuses Time with the time of a human’s life.

The poem has been set to music by Bertram Wooster with a Betty Boop video. They credit Lear, and the poem shows up in PoemHunter and a couple of other places… and I want to believe it is Lear… but I’d be happier if I could find more about the origin of the piece.

Candle” by kkalyan is marked with CC BY-SA 2.0.

Poem: ‘His Mad Skull’s Like’

His mad skull’s like
a motorcycle cage of death,
the engines roaring over and beneath:
conflicting paths, crashless machinery –
the crowd roars, hoping for catastrophe.

an alchemist’s laboratory,
he strives through Universal symmetry
alone to conquer nature, friendlessly,
transmuting hopeless to hope endlessly.

a planet with its atmosphere,
blossoming gaudy after starting drear;
from grand extinctions and tectonic faults
life reaches out to loot galactic vaults.

a plant with taproot down the spine
side-nerve extractors reaching out to mine
the Universe’s minerals of sense,
make sense, and raise to Mind the mind’s pretense.

This poem along with four others of mine has just been published in The Brazen Head in the UK. I came across the magazine through Marcus Bales who published three sonnets in it in October 2021. The magazine is an idiosyncratic quarterly blog with a diversified structure and a wealth of unexpected ideas in poetry and prose. My poem felt quite at home. I will post the other poems in the next little while–a couple of them have even more unusual forms; the five make a nice set.

Sonnet: ‘We Know We Will Be Dead’

We know we will be dead, who are alive.
But should some element of us survive –
fragment of consciousness or memory –
what value could it have? What should it be
that the whole universe might benefit?
The atom matters – what’s not made of it?
And we’re not large – not like a conscious star
(if time will let us all evolve that far).
You’re not much different in real magnitude
from an ant crushed for going for your food,
a gnat rubbed out, its tiny consciousness
a dot… but does it build the universe?
If that gnat can’t, I don’t see how you can:
there’s not much difference between gnat and man.

Does a poem of 14 lines, rhymed in pairs, count as a sonnet? Perhaps, but it doesn’t feel quite right. Petrarchan and Shakespearian sonnet structures, with more complex structures of rhyme, produce a much greater impact with the final line–a sense of revelation, inevitability, an impression of absolute truth–purely by the successful rounding out of the pattern. I like this poem’s ending couplet… but it would be stronger if the previous 12 lines were better structured.

‘We Know We Will Be Dead’ was published in the most recent Allegro, edited by British poet Sally Long.

Hubble’s colourful view of the Universe” by Hubble Space Telescope / ESA is marked with CC BY 2.0.

Potcake Poet’s Choice: Max Gutmann, ‘Kindling’

The day his girlfriend’s father let him cut
The kindling was the cracking of a crust,
A heavy volume falling open at
A pleasant page. He felt the guard relax
At last: it takes some trust
To hand a man an ax.

They foraged for straight grain, which wouldn’t knot
The blade, but give hospitably, a quick
Clean breach, if he could hit the angle right.
The older man first watched, and then went in.
Alone, he chopped each stick
To almost pencil-thin,

Absorbed in seeking out that magic split,
Delicious every time that it occurred,
A touch of luck rewarding skill and sweat,
Though earned, still only half-anticipated,
Like just the sought-for word,
Or love reciprocated.

Max Gutmann writes: “I like the pattern—unique without being complex, rhyming throughout but ringingly only at the stanza ends. I hope the last simile feels both surprising and, like an ax biting a block, inevitable.”

Max Gutmann has worked as, among other things, a stage manager, a journalist, a teacher, an editor, a clerk, a factory worker, a community service officer, the business manager of an improv troupe, and a performer in a Daffy Duck costume. Occasionally, he has even earned money writing plays and poems.

‘Kindling’ was first published in The Formalist.

maxgutmann.com

Chopping kindling” by *Tom* is marked with CC BY-NC-SA 2.0.

Sonnet: ‘Voyage’

Some watch the widening, receding wake
On life’s long voyage. Others at the bow
Scan ahead, wondering what route we take.
(But Past and Future point to one end, Now.)
When disembarked, what will your story be?
“I looked back, couldn’t tell where we’d begun…”
“I tried to look ahead, but couldn’t see…”
“I read lots.” “Slept.” “I made friends.” “I made none.”
“Sunsets were nice.” “The food was just so-so.”
“I helped someone.” “I tried, but got in fights.”
What’s next?
Aboard Earth round the sun all go,
Each spinning whirl hundreds of days and nights,
Through scores of rounds. How’d we get here? Don’t know.
Then each, some unknown -day and -where, alights.

This poem was originally accepted for Contemporary Sonnet but, as far as I understand, when Charlie Southerland took over from the previous editor all the online passwords had been lost, and the magazine folded. So the poem went to Verse-Virtual instead. Given that its subject matter is the unpredictability of life, such changes for the poem’s own voyage are quite in keeping.

Ship’s wake” by Dany_Sternfeld is marked with CC BY-NC-ND 2.0.

Potcake Poet’s Choice: Tom Vaughan, ‘To Whom It May Concern’

Remember waking, starting, stupidly young
the promises, the lies, the world’s forked tongue

Remember how you longed for love, and how
you long for love the same way, even now

you know that there’s no cure for loneliness
not even love, let alone happiness

Remember marriage, children, summer holidays
Remember work, remember all the ways

you chose to be defined which were not you –
if there’s a self definable as ‘true’

Then remember prayer, answered or unanswered
(either way, how to tell?). Remember whispered

doubts. Remember the words and images
which led/misled you on your pilgrimage

Remember how you crossed the desert, cursing
Remember how you crossed the desert, hoping

Remember age and illness, letting go
of everything you’d told yourself you know

Remember forgetting the Lord your God decreed
you must remember him, and teach your seed

the stories storing their identity.
And if you read this, please remember me.

Tom Vaughan writes: “I like it because it came in a rush, like something hammering in my head, and because it reflects not just what seems to me the crucial nature of the link between memory (however selective and indeed creative) and identity, a link I saw brutally put to the test during my mother’s long decline with Alzheimer’s, but what has always fascinated me about Judaism and the wonderful emphasis in the Jewish scriptures and festivals on the need to remember, in order to retain/create a sense not just of individual but also of collective identify.

The rush also meant that substantial trimming was called for: it was originally about twice the length. But I hope the final compressed result pins down more precisely the push and tumble of the writing process.”

Tom Vaughan is not the real name of a poet whose previous publications include a novel and two poetry pamphlets (A Sampler, 2010, and Envoy, 2013, both published by HappenStance). His poems have been published in a range of poetry magazines, including several of the Potcake Chapbooks:
Careers and Other Catastrophes
Familes and Other Fiascoes
Strip Down
Houses and Homes Forever
Travels and Travails.
He currently lives and works in London.
https://tomvaughan.website

‘To Whom It May Concern’ was first published in Snakeskin 277, October 2020

Photo: “Jewish house with Mezuzah” by La Laetti is marked with CC BY-NC 2.0.

Sonnet: ‘Thunderclouds’

Lightning connecting heavens to the Earth
When heat, humidity grow thunderclouds–
Blackening, building to torrential floods–
Is how the Singularity will birth.
Then our new thunderous AI gods appear,
Growing and killing, Shiva-like, their wards.
(I, for one, welcome our new Overlords…)
Their lightning flashes blind, freighted with fear.
From rising mists and steams of consciousness
Poetry stormclouds, too, flash and connect.
When humans by our own AI are wrecked–
Our own connected selves and selflessness–
The Jovian bolts of electricity
Will be posthuman–and pure poetry.

No, this doesn’t have anything to do with Vlad the Bad‘s invasion of Ukraine. It is just part of my decades-long fascination with the way that technology is laying the foundations for AI that will be more powerful than humans, and for brain-to-brain communication that will move us to a Borg-like condition. And then what? It’s unknowable, but it will be the end of the world as we know it. And I feel fine. Nature is in a permanent state of change and replacement and development, and humans are not exempt from being obsoleted. Not this year or next. But in 100 years, who knows what transitions will be happening?

This sonnet was first published in the Shot Glass Journal.

“Thunderhead” by Nicholas_T is licensed under WordPress Creative Commons