Poetry from Christopher Bernard


The Invention of Fire
By Christopher Bernard

Fiery hand against black background

 

 

 

 

 

 

 

One day I heard on a street of this city –

billionnaire ville of high tech and IT,

cultured pearl of Silicon Valley,

capital of the 21st century,

San Francisco of the crazed and the crazy –

a man laugh out, “Whatever you do,

or think you can do, there’s one thing you can’t do:

you can’t disinvent technology!”




But, darling, what if we could, you and me,

undo the long golden chain of human

marvels and practical disasters, back

to the wild dawn of it all? What if we could

unpave, unpollute, unpoison the world

that we are destroying with our civilized life,

that Frankenstein’s monster of terror and sweat?




—The cell phone suddenly melts in my hand

like a Milky Way left too long in the sun.




The laptop wrinkles like an autumn leaf,




the desktop goes up in a puff of smoke

at the sparrow’s pass of a magician’s wand,

goes up with a smell of burning wood.




Servers curdle like bottles of milk.




GPS goes out like a light.



Monitors line up like dead fish on the sand.




Abruptly vanishes the World Wide Web

like a spider’s cobweb catching humans like flies,

and with it the stranglehold of the internet.




A wind picks up over the empty land:

it blows forests of sky dishes away,

flocks of radios, stereophonic herds,

the clotted brainpans of obsessive nerds,

landfills clogged with wireless TVs,

movie cameras, projectors – not those! – yes, those

too – molten flash drives and CPUs,

busses and rockets and snowboards and skis,

rollerblades, Velcro and nonstick pans,

silicon chips reduced to sand,

rare earth metals melting down with smartphones,

the burnt-out husks of intelligent homes,

trains and steamships and telegraphs and sails

crossing the seas like clouds of white whales,

skyscrapers and skylights, iron alloys and glass,

the first lawnmowers smelling of cut grass,

and the central beast at the heart of the wheel:

the million-headed Hydra, the automobile;

the casket elevator, the pick, the spade,

the tackle and hook of a cable of braid,

the IUD, pill, the condom, bidet,

vaginal rings and penis pumps

(the tech of pleasure isn’t spared its lumps),

Glocks and anklets, in vitro wombs,

water-sealed coffins and virtual tombs,

warheads and nylons and nuclear bombs:




the wind of time in reverse sweeping away

everything we invented: the plough, the clock,

the spectacles on the pimpled nose of a monk,

dreadnaughts, all dreading, at long last sunk,

pencil, parchment, typewriter, quill,

propeller, salt cellar, egg-beater, scythe,

horseshoe nail and dentist drill,

uncool change lane and cool Swiss knife:

everything that fell from the war of life

into our far too-clever brains

that are never satisfied and never tire,

back to the beginning of everything until

we lie down again in the mud of a cave

and, snuggling together, as we know best,

disinvent the one we can blame for the rest:

the two sticks that first rubbed together into flames.




See? All gone! It couldn’t be done?

We’ve done it, you and me, in the course

of a little fantasy and, with apologies, verse.

But then, I never needed any of it.

I have needed you, deep as I am in the mire.

Each time we embrace, we invent fire.




_____




Christopher Bernard is author of A Spy in the Ruins, In the American Night, 
and The Rose Shipwreck. He is also co-editor of Caveat Lector. 
His poetry can be found at his blog, “The Bog of St. Philinte.”




Image from Fire Fire Fire.

Essay from Christopher Bernard

Imaginary Cartoons: Charlie Hebdo in Heaven

By Christopher Bernard

In the spirit of Charlie Hebdo (= ; – > ), and not being the greatest draftsman in the world, I offer the following “conceptual comics” or “imaginary cartoons.”

1. The five Charlie Hebdo cartoonists who died on January 7, 2015 – Cabu, Charb, Honoré, Tignous, and Wolinski – are in heaven, standing at the foot of the Almighty’s throne. The Archangel Gabriel, looking sullen and embarrassed, is standing with an open ledger and a quill near a sign that reads “Department of Indemnities.” The cartoonists look bewildered and amazed. Cabu speaks: “Could you repeat that again? We get 70 virgins each?”

2. The five cartoonists are in heaven; they have become angels, with halos and wings, and are floating about, cracking up over their new status, pointing and jeering at each other, plucking each other’s halos, looking up each other’s shifts, generally behaving like a bunch of out-of-control scamps. Cabu speaks to a puzzled angel standing nearby: “And then I said, ‘You mean, he does exist!?’”

3. The five cartoonists in heaven, each of them surrounded by 70 virgins: Cabu: “The Old Man sure has a sense of humor.”

4. The murdered cartoonists, surrounded by choirs of angels singing on fluffy clouds, meet in heaven the three dead terrorists killed by the French police. Cabu speaks: “Bet you didn’t expect to see us here.” “No, we get the virgins.” “Instead of the virgins, you get us.” “ … and you get the first read on all of our cartoons forever!” “Oh, I get it. Our heaven – your hell!”

5. The terrorists are tied up and faced with the cartoonists, who menacingly raise their pencils and sketchbooks, ready to draw. They look terrified and whimper, “No! No! Anything but that!” _____

Christopher Bernard is a regular contributor to Synchronized Chaos Magazine.

Poetry from Christopher Bernard

 

Two indistinguishable grey figures walking in a snowstorm

Photo by Miles

 

 

 

 

 

 

 

 

 

 

 

 

Miracle in Red Bluff

By Christopher Bernard

“It’s Christmas eve,” the burly motel owner said.
“Nobody’s got any rooms.” “Damn all,” said the man.
“It’s all right, Jay,” the wife, hardly a teen, replied,
looking at the owner. “Oh!” He, suddenly sheepish,
saw the problem: nine-months due,
the little body was swollen, a perfect sphere
at her tummy. “Well,” he added reluctantly,
“we’re not supposed to, but there is a corner
we sometimes rent in the garage. It’s not legal,
you know, so we have to charge more…” “More?
Man! For a garage?” sputtered the man.
“We get to sleep on cement?” “No, there’s a cot—
two cots, and blankets, a table, a utility sink,
and a ceiling light.” It was snowing outside.
Jay cursed. “We’ll take it,” he grumbled. “Come on, Myra.”
Myra exhaled. An hour later they were settled
in a cold room half hidden behind a row of cars
under a naked bulb. “If we weren’t black,”
said Jay, “he’d’ve let us sleep in the lobby,
the white bast—!” “Jay, don’t,” said Myra.
“We’ve got a roof for the night.” She heard the wind
blowing the snow down from Shasta’s peak.
“Be thankful, Jay.” “I’ll be
damned first,” he retorted. He pulled a cot
away from the wall. Myra lay very quiet on the other.
“You all right?” he asked. Myra had a scared look
on her face where she lay near the wall. She tried to
pull herself up. “Jay … Jay … oh … Jay ….
I think it … I think it’s …” “Holy shit … Not here, not now…!”

A clutch of teens were passing a joint behind Sal’s.
The snow was still falling, though lighter. “Hey man,
this stuff’s so strong, I can see Santa coming
over Redding.” “That’s no Santa, that’s a drone,
and he’s comin’ after yo’ tight ass.” The others giggled.
Suddenly someone appeared they didn’t know.
He wore a dark raincoat, which didn’t make much sense.
The boys stopped and stared. “It’s a narc,” one whispered.
“Or some transgender weirdo,” another sneered.
It had the figure of a man but a woman’s face,
it spoke softly but locked their eyes with its own:
each thought the figure looked at him alone.
“None of the above,” it smiled. The boys
were suddenly frightened. “Don’t be afraid. I have news.
Across the alley there’s something you should see.”
It pointed to a garage where a light was burning.
“Hey, it’s late, man. And it’s Christmas. I gotta get home.”
“I bring glad tidings. Go. Look. What have you to lose?”
He looked benignantly at them. “Peace to you.” Then he
seemed to disappear. They looked at each other.
“Man, that stuff is strong,” one of them said.
But they went anyway to the garage. A black man and woman
looked up from a little black baby in a towel and a blanket,
and lying in the sink. From a hole in the wall came a sound
of pigeons, their heads looking down. A stray dog
sat nearby, a cat was curled up on the table,
staring silently at the infant,
who lay watching the boys curiously,
in the unfocused way babies have;
seeming to be wondering where he was.
The boys, still high, fell to their knees.

Sometime after, there was a knock,
and three old men, one with a beard,
one with a funny hat, the third with his fingers
covered with shining rings, came in. “I told you
I was right,” said the one with the hat. “He’s the one.”
“How can you tell?” But the first was silent. The ringed
man nodded deeply to the mother. “Please excuse us.
We’ve come a long way to get here.” Myra smiled shyly,
fatigued from the labor, uncertain, yet taking
these strange happenings as they came. The man removed his rings
and placed them near the baby, their brightness
glimmering like his eyes. “Why are you ….?” she asked,
astonished. The man shook his head and smiled.
The two other men also left small offerings—
the most precious items, it seemed, that they possessed:
a vial of cheap perfume, a handful of costume jewelry.
“We cannot stay,” they said, then with a deep
bow to the child, they left. The man with the beard
said to the bewildered parents, “You do not know
who he is? It isn’t for me to say … But you
will know,” then departed.

“What are they
talking about?” said Jay. Myra wearily
shook her head, then took her newborn baby
who was at last beginning to cry, and opening her blouse,
let him feed greedily. Jay went outside—
the snow had stopped, the sky was deep, empty and clear—
and he looked up. The biggest star he had ever seen—
brighter than the moon on the brightest night of the year—
hung like a beacon, brilliant, straight and motionless, above him.

_____
Christopher Bernard is a novelist, poet, editor and journalist living in San Francisco. His books include the novel A Spy in the Ruins; a book of stories, In the American Night; and The Rose Shipwreck: Poems and Photographs. His novel Voyage to a Phantom City and a new collection of short fiction, Dangerous Stories for Boys, are scheduled for publication in 2015. He is co-editor of Caveat Lector (www.caveat-lector.org) and a regular contributor to Synchronized Chaos Magazine.

Christopher Bernard reviews Clara Hsu’s The First to Escape

Clara Hsu

LATE BLOSSOMS

A review by Christopher Bernard

Clara Hsu

Clara Hsu

The First to Escape
Poems by Clara Hsu
The Poetry Hotel Press
134 pp, $18.00

“It is always better, the ‘other world’
where each motion is a still frame,
perfectly all right to linger in.”
—Cafe Delirium

These lines may stand as a motto for the eloquent collection they encapsulate. We are not here the first, nor are we likely to be the last, to escape into the “other world” embodied in Clara Hsu’s poems, where we too can linger, perfectly right in the ever-widening senses of the term. Poems like these are enchantments to spirit us away, partly to help us escape the bitterly real world but above all to give us distance where we can see more clearly that world from which we have, from which we must, escape if we are to breathe, to live. Hsu’s poems are both entrance and egress, a welcoming and a bon voyage, a palpable breath of the morning air crossing our way across the white page, embers of candle ash in the snow.

“Begin with sadness that permeates
since the feverish hands cooled
Looking beyond
it must have been the wind”
—Wandering Night

Often the reader will find here a deep joy, sometimes delicately, sometimes wildly sensual; sometimes homey, domestic, calm; sometimes hard, with the earthy candor of genuine love, the deep affection that spurns euphemism. But sadness, the exhaustions of love and the instability of even the most modest happiness, also has its rights, to say nothing of its sacraments.

There is the questing for the self, that elusive necessity of being:

“the dreamer
doesn’t know it is she who commands
the dream to appear. It is she who has
been wishing. It is she whose wish takes
form tapping code into the great
unknown. It is her words….”
—Wandering Night

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Poetry from Christopher Bernard

The Choice

By Christopher Bernard

 

 

Man shaking hands with the devil, both in suits

 

 

 

 

 

 

 

 

 

The Choice

By Christopher Bernard

The modern world, that devil’s bargain …
—E.M. Cioran

The devil came to a man one day
and told him: “I will grant to you
undreamed of knowledge, wealth and power;
every hope mankind has known
will real become, or seem to be
on the verge of reality
tomorrow or, at the very most,
the next day, marvelously.
You will dominate the earth,
take your first steps toward the stars,
walk on the mountains of the moon,
touch the sands on the plains of Mars,
weigh the ice on Saturn’s moons,
on your fingers wear her rings,
weigh the universe itself
in the scales of your great mind,
measure its length, its breadth, its age,
its time to come, death and old age,
you will be so sage.

You’ll count the smallest elements
that make it up – the quarks, the strings,
the genes, the chromosomes of all things –
and play with them
to make new worlds, new life, new minds –
you’ll learn
the origin of space and time,
the source of life, the cause of thought,
everything that can be known
you, and you alone, will know.

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Christopher Bernard reviews Philip Fried’s poetry collection Angry Love

 

philipfried

Philip Fried

 

With Angry Love

 

Interrogating Water and other poems

Philip Fried

Salmon Poetry

112 pages

€12.00

 

A review by Christopher Bernard

 

New York poet Philip Fried’s new book of poems has a bitter humor, an angry sarcasm just this side of despair:

 

The multi-chemical Lethal is a classic

And one of America’s best-loved cocktails, due

To its featured role on cable’s Death Row show

With a hey, and a ho, and a hey nonino

—Mixology, a Madrigal

 

But the bitterness is well earned, as every day – and, with the multiversal bedlam of the internet, sometimes every minute – we are granted yet another example of our continuing descent into barbarism and moral chaos.

Fried’s poems often use a device that has become increasingly common in modern culture, both American and European: they take on “the voice of the devil” in an attempt to shake the reader out of their usual passiveness:

 

Galloping with his drum, the singer

Rides in a split second over

Plains that outdistance their tympanum sky,

And all by the song’s power.

Ideology gallops the story.

What values spur the teller?

—Ballad

 

Fried’s poems work their angle and edge from the insanity of our gun-worship:

 

O portable and concealed god, barely visible

As a bulge, yet guardian of halcyon skies

And mountain majesties from your home in a pocket-,

Pancake-style-belt, or shoulder-holster.

—Prayer to the Small-Arms Deity

 

to our national narcissism:

 

First, assemble the Manifest Destiny engine,

Fasten the Shining City to the Hill,

… With the Leveraged Capital

Rubberband, stretch an elastic liberty

Until it nearly snaps, from sea to sea.

—Grammar as Glue

 

to our infatuation with technology, our paranoias over transgressed borders, our feverish materialism, our dehumescent humanism – but above all, to our scattering moral obeisance to the gods of war, our morphing into the labile dictatorship of terror:

 

We are soliciting bids from a divine

entity for a Full-Protection Covenant,

with renewal options in perpetuity,

to shield the homeland and its future seed.

—The Department of Defense (DoD) Request

for a Covenant (RfC)

 

The language of these poems blends the schizoid paranoia of military officialdom and the meretricious smarminess of corporate diction with the majestic cadences of the King James Version of the Bible (frequently quoted) and the sleek, solemn latin of the Vulgate, in a mashup of dictions meant to shock with awe at the “sinister giddiness” of our official culture.

 

Have you brought forth the Predator Drones? Have you armed them with

Hellfire missiles and fledged them with glycol-weeping wings?

….

Does the Killer Bee fly by your wisdom and initialize its missiles? Does

the DarkStar launch at your command, deployed from invisible havens?

Whatsoever is under the whole of heaven is mine.

—On the Record

 

Who is this that comes from the wilderness like pillars of smoke,

perfumed with lambskin and burnt gunpowder?

His legs are as pillars of marble, clad in flame-resistant trousers. His head,

crowned with bulletproof Kevlar, is as a watchtower looking toward

Kandahar.

—Canticles

 

Shimmering with anorexic allure,

these supermodels have learned to stroll with intent,

reinventing themselves up from the balls of their feet.

The Lil Saunder Voluminous Total Jacket

seamlessly encloses a lead core,

including the base, in brass or a suitable metal.

—Catwalk

 

Other poems combine street-vetted vernacular with quotes from Thoreau and Emerson, museum-ese with the disingenuous customer-friendliness of instruction cards, Victorian-esque translations from the Greek tragedians with the utterances of a Siri app named Sybil, the thuggish inquisitory of a black-site interrogator, chronicles from the dark ages of the future in the stumbling diction of an anonymous monk, and the prim hysteria of newspaper headlines.

The bitter brilliance of these poems should not hide from us the deep compassion and the furious optimism that burns at their heart. Fried’s poems are a poetry of denunciation and warning, as old as Micah and as new as the whispering drone peering in at your window. The anger of these poems is the anger of love. And a determination to seize mind, heart and body and shove us away from the bloody abyss into which we seem so intent on plunging, as though we believed we shall grow wings if only we fall hard enough.

If I have any criticism of the book, it is that I came away with no clear understanding of Fried’s notion of “the good” – aside from building and molding language into fortresses of intention and villages of words. His vision of our time’s evils is eloquent almost to a fault: I hunger to hear his vision of good – even of our time’s “goodness” (only the dark Pollyannas of cynicism refuse it any goodness at all); I’d like him to occasionally drop the sarcastic mask, the much-dented postmodern shield, and show a glimpse of the naïve spirit without the defensive clutch at cleverness.

Not the least of the ironies associated with this book is that it (like Fried’s previous books) is published by a foreign press – to whom thereby we owe many thanks. The elegant design is grateful to both eye and hand – it’s a handsome production all around. But it is one more nasty little self-imposed humiliation to our seemingly unending national list that this much-needed voice had to go beyond the country’s borders, its ever-shrinking, ever-thinning skin, to find a publisher.

_____

Christopher Bernard is a writer, poet, editor and journalist living in San Francisco. His books include the widely acclaimed novel A Spy in the Ruins; a book of stories, In the American Night; and The Rose Shipwreck: Poems and Photographs. His work has appeared in many publications, including cultural and arts journalism in the New York Times, San Francisco Chronicle, Chicago Tribune, San Francisco Bay Guardian, Philadelphia Inquirer and elsewhere, and poetry and fiction in literary reviews in the U.S. and U.K. He has also written plays and an opera (libretto and score) that have been produced and radio broadcast in the San Francisco Bay Area. His poetry films have been screened in San Francisco and his poetry and fiction have been nominated for Puschcart Prizes. He is co-editor of Caveat Lector (www.caveat-lector.org) and a regular contributor to Synchronized Chaos Magazine.

 

 

Philip Fried

 

Christopher Bernard reviews Llyn Clague’s new poetry collection ‘The I in India and US’

The Will to Live: Little Antidotes to Despair

 

Photo of a middle aged white man with glasses sitting in a wooden chair out on a grassy lawn

Llyn Clague

The I in India and US

Poems by Llyn Clague

90 pages, $15.00

Pure Heart Press

 

A review by Christopher Bernard

Llyn Clague’s new book of poems is a charmer. It does what poetry, long expected to do, seems these days to do less and less: it tries to build a bridge – tenuous, delicate, easily breakable as it must be – between the individual and society at large, between the reader and the world.

…. Why

when it is so widely dismissed

as “all about me” – why poetry

about India?

… can poetry –

more allusive than analytic

daemonic than descriptive –

in flashes of India reveal landscapes

inside you?

Subjectivism has long been the presiding curse of modern poetry, to say nothing of modern culture, which has turned self-centeredness from the acme of sin into society’s prime motivator.

The philosophical roots of subjectivism go back to the idealism of modern thought, beginning with Descartes but finding its strongest support in Kant, who convinced many thinkers up to our time that “reality” is not directly accessible to us, that the only access we have is to the thoughts in our minds – although today even the word “mind” is suspect, and only “the brain” is scientifically correct, although even the doughtiest neuroscientist has yet to locate a thought in the brain.

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