Sunday, December 25, 2011
These poems were written by me many years ago and I am displaying them again now at this blog.
DAWN ON SEVENTH AVENUE
There is a moment of quiet stillness
Right before sunrise, before light;
When a clammy breeze passes
And nothing moves, nothing stirs.
My pristine gown clings in the humidity
Like translucent second skin.
I awaken, not knowing if it is evening...
See my reflection
In the haze of this smoky cracked mirror:
This is all I have ever been,
And all I will never be.
SPINSTERS AND GHOSTS
It is murky and dim down the street
Where an unforgiving lonely spinster
Lives almost protected under blankets
Of carefully crocheted elixirs.
Here- where the ghosts of ancestors,
Sitting on the moss of invisible oaks,
Offer kind words of encouragement
Adding seconds to midnight
When dreams turn to film noir.
There- where starry-eyed children
With handsome fathers
Would spin until dusk... or dawn
On a forgotten Ferris wheel
Left behind by the carnival
After roadsters skidded home along
Now- up on a vacant fifth floor
The weariest is carefully coifed and rouged,
Sitting on the other side of gold brocade.
Bloodless thighs wrapped in an opaque afghan,
She is clinging to a teacup of cold chamomile.
Later, she shares ambrosia with gods.
Then in a final gesture,
She scrapes and scrapes the bottom of her dish
Searching for one last drop.
I catch a subtle whiff of dried lavender
As the director, a wiry-haired widow,
Lights a cigarette and with a simple single
Gesture flicks the ashes into the palm of her
Fashionably tattooed and manicured left hand.
“There is no need to state your full name;
Just speak of the fear, the constant fear,”
The director coaches.
Behind us, the steady swing and flutter of
Gold diaphanous curtains as a clammy, familiar breeze
Passes through the old chartreuse theater.
We describe strange, tormenting, ritualistic behavior:
Washing, checking, hoarding... mental anguish so
Exquisite the weariest sheds mellifluous tears:
“I’ve shared ambrosia with gods;
At midnight, demons turn my terror to film noir.”
That evening, I dream of solitude
And the transmigration of souls...
One lonely soul wishing to return
Washed in amnesia, hypnotized and untainted.
When I awaken, it is still dark-
Down below, the street is eternally bathed
In disconsolate orange moonlight...
Trapped in an endless maze of mirrors.
A child rested on a maroon sofa
In the still musty living room
Of her grandmother’s house.
The house was decorated with gold tassels
And white lace and starched doilies...
And it trapped a scent of burnt potato pancakes.
At night, the ghosts of ancestors sucked the juice
From the peaches of a backyard tree.
A fake fireplace electrically glowed
Orange-yellowish and whispered in
All seasons the child was home.
On a maroon table, sat an
Incandescent pink seashell...
“Hold it to your ear and you can hear
The sounds of the ocean,” ventriloquists urged.
The steady whir and flutter of the slats
Of off-white Venetian blinds lulled her
As chill winds passed through Brooklyn.
At dusk, the front door opened and
A man, wearing gray and gray,
Silently traipsed through the house
To “his room” and he closed “his door.”
He was home, too.
The grandmother called the man
Just “the boarder.”
The child only glanced up as he passed and
He never spoke to her... nor she to him.
On the clearest of days she cannot even recall
His face... yet she stares at him whenever chill
Winds pass through Manhattan.
At dusk, a dream through stained glass:
In a hazy deciduous forest, I am almost naked-
Pristine gown clinging like translucent second skin,
Chartreuse satin slippers, cheeks pale porcelain rose,
And humidity turning my hair burnt sienna.
The scent of dried lavender drifts through trees-
“Alone in nature, by nature,” ventriloquists murmur.
Bejeweled spiders, resting on carefully crocheted cobwebs,
Melancholy widows, eyes green tourmaline,
A soldier seduced by indifference...
Haunted beauty washed forever in soft pink light.
A fading fragrant French cologne-
Earlier a sweet intoxicating elixir- melting and melted.
An elusive black-throated warbler,
Pausing on a great oak, bears witness:
An icon is shedding mellifluous silver tears,
Reflecting my grandfather, wrapped in his tallit
Stirring, turning, saying, “You look very familiar to me.”
A clammy breeze passes through Manhattan.
I awaken this time, awakened last time,
Acquiescent and still, not knowing
If it is evening... or morning.
One hot sunny Sunday, in July, at Long Beach:
An amnesiac sat on the boardwalk watching
A strolling lady who was carrying a pearl-handled parasol.
A handsome soldier passed holding a love letter that was
Written on a faded lace white doily and a lonely spinster
Stared at vague images in the sand...
Lines soon to be scattered by an insouciant breeze.
An innocent, guileless, sienna-haired child
Paddled to shore in a teacup.
This is what happened on a hazy sunless Sunday,
In mid-August, at Westhampton.
A spiritual man, who once posed as an amnesiac,
Conducted past life regression sessions
In an old chartreuse theater and
A tattooed director, with wild cinematic aspirations,
Filmed the event in shades of mysterious gray.
Later, I rested on sands
And watched one lost kittiwake fly
In circles overhead while an organ played
Music from an invisible carousel.
I listened to the ocean and
Imagined mermaids swimming painlessly
In peaceful and seductive warm waters.
A sienna-haired child
Stepped out of a floating teacup,
And walked with sea legs
Along colorless sands.
Sometimes before twilight,
I think of those two days.
Speak to me in hushed tones
And tell me who stole the peaches
From the old backyard tree
The night I danced the fandango
In front of a closed automat.
As the humidity of that evening
Turned my hair a burnt sienna
An elastic lady teased, “Tsk tsk,”
Because the chartreuse slippers I wore
Were not even my own.
Siamese twins took turns
Stroking the belly of an insect
That rested on the sterling silver tray
I held in my outstretched left hand.
A fading fragrant French cologne-
Earlier a sweet elixir-
Melted under the neon lights
At the very moment
The tattooed film director
Held a lit match to her cigarette
And started a small fire.
And the charlatan I once loved
Did a few fancy smart steps and knew,
As usual, I would forget.
MURMURS IN THE DARKNESS
She is not the first tenant who weeps
Into that stained pillow at night.
She limps to the window
And peeks out to face the pale moon
Jumping from one side to the other
While the heat of the evening
Becomes even more oppressive.
So! That bright star is not a star, after all!
“It is Jupiter,” she murmurs.
The strange sound of a fog horn,
In the clear night, seems to place
Her in one moment and then another.
She tries to remember what
Passed from there to here,
From one time to this time...
But she is lost now like a
Prisoner in this nightmare,
This fantasy or nightmare
In a thick veil of darkness.
THE WAY I LIVE
My memories have always been vague-
Arriving at dawn on Seventh Avenue
Or at the beach on a sunny hot Sunday,
Visible as peculiar visions in colorless sands.
In an old chartreuse theater, a wiry-haired
Director captured a slight shadowy piece
In muted shades of gray and gray.
But, I danced the wild fandango
In front of a closed automat
To try to forget.
Then one day I remembered
Everything, just like that...
Just as smooth as slipping into
But whether I remember
Or choose to forget,
The forgotten has always determined
The way in which I have lived.
I awakened and longed with desperation
To return to Brooklyn.
I wanted to ride until dawn on a creaky
Ferris wheel left behind by a carnival and
To visit the still standing luminous
Chartreuse home of my grandmother.
Memories behind stained glass windows
Beckoned like some naked amnesiac
Who struggles to reach home.
In the air, I could still smell the fullbodied scent
Of burnt potato pancakes that wafted through that
House and I often glimpsed the ghosts of ancestors
Lurking and sucking juice from the backyard peach tree.
I longed with desperation to return to old Brooklyn.
At 5 P.M. I slipped into my car
And drove south through Manhattan.
The pink sun soon sizzled on the Hudson River
And set, to my right, in bright blazing Technicolor.
In the distance, one kittiwake
Seemed to have found the way.
I headed for the elixir of the spinning
Teacups: the kiddie rides at intoxicating
Coney Island... in the most haunted and
Haunting of places: Brooklyn.
© 2010 Marjorie Levine
Tuesday, September 13, 2011
Friday, September 2, 2011
Sunday, August 21, 2011
Saturday, August 20, 2011
Saturday, July 9, 2011
Friday, June 17, 2011
This is my general interpretation of David Lynch's enigmatic and mysterious film, "Mulholland Dr."
"Betty" (Naomi Watts) is a winner of a jitterbug contest who comes to Hollywood filled with dreams. She hopes to become an actress and play a coveted role in a film called, "The Sylvia North Story." Betty desperately wants that part. Laura Harring plays the physical manifestation, in an elaborate hallucination, of the part Betty wants. The hallucination is named "Rita." Rita has amnesia (after she is in a car accident as a character in a film) and she does not know her identity. She will not know who she is until she is cast in "The Sylvia North Story." Rita wanders off to the apartment where Betty is staying. Betty tries to make the part her own by having her hallucination, Rita, wear a blonde wig and think she could be named "Diane Selwyn." Diane Selwyn is Betty's name in the second part of the film. And Betty falls deeply in love with the physical manifestation of part, played by Laura Harring. This is all revealed in a flashback after Betty falls asleep at the beginning of the film.
"Betty" auditions for the role and she is terrific. But, another actress, Camilla Rhodes played by Melissa George, gets the part in "The Sylvia North Story." That piece of fate sends Betty into a downward psychotic spiral. We see Diane unravel in part 2 as she continues to see her hallucination and the real Camilla, Melissa George, as Laura Harring. Laura Harring is playing Melissa George, who is Camilla, in a pentimento. We are seeing the film from Diane's perspective and she always sees the role from that script as Laura Harring. Diane plays small roles in Camilla Rhodes's films, but she never achieves great fame and success.
Diane kills herself at the end because she has completely unraveled and she can no longer separate truth from fantasy. She wasn't able to wake-up and face reality. And her dreams are gone. She has no more hope.
Fate came knocking at the door...
It was indeed fate that came knocking on Diane's door and Rita saw Diane's fate when they visited the Sierra Bonita apartments.
The two old people were there when "Betty" was filled with hopes and dreams and they were there in her head when she realized she would never achieve her dreams... and so she ended it all.
The box was fate, the "monster" behind Winkie's was the keeper of fate, and we saw the keys to Diane's fate.
And at the end... we are reminded by the "blue haired lady" that fate is best rendered "Silencio."