Mike Olin "Infinite Get" at PENINSULA ART SPACE
poetry/antipoetry & exploitation movies
once upon a time seamus heaney called for a becketttian poetics of cinematic language that opens trap doors & does doubletakes. i was thrilled by that call for beckettian poetics & wanted that for my own poetry. such a vivid caption for a postmodern poetry is thrilling. but rather i prefer for my own poetics is an antipoetry of radical simplicity. a duchampain poetics of everyday & found things & words. an ordinariness tasked against the complexities of our mad times. duchampian art is what the artist says it is. like placing a urinal on a pedestal. & signing it r. mutt. or using the language of texting, twitterings, email, tv, movies, & the ordinary speech of all of us. & do this with full knowledge that no one owns language, but the words belongs to all of us.
last words
i sure the hell hope that my last words sound something like this:
thank you thank you so fucking much thank you thank you so fucking much
thinking about ginsbergian poetics
first thought best thought
but hey wait a minute
on second thought...
spring: squirrel vs. cat in the garden
bill, played by writer/director of this flick, paul gordon, is a thirtysomething poet who wants to buy a hot dog stand. but instead of selling hot dogs in a park in the center of austin, tx bill wants to sell healthier options of the mostly vegetarian persuasion. this movie opens with bill with the loan officer trying to explain his desire for his version of a hot dog stand. the loan officer nearly laughs in his face. when he asks why doesn't he just sell hot dogs, a guaranteed source of income, bill haltingly explains his reasoning. he thinks there is a market in downtown austin for healthier foods. when the loan officer listens to bill with one eyebrow cocked he motions to bill's loan application, asks if the poet has any business experience in the food industry, and wonders why someone with a master's degree in creative writing is applying for such a loan.
bill, as essayed by gordon, is a likeable dreamer. he speaks sparingly using his words as carefully as possible. his uhs & uhms are like a protective shield between his desires, his dreams, his thoughts & the outside world. intrigued by all this the loan officer accepts bill's application but loans out a meager $750.00 to 'see what happens.'
if the above was too much exposition of the movie for this brief review i say in my defense that this is my second viewing of this movie. the first time was about a year or so ago when i found the pic on Amazon Prime. my curiosity was piqued by the title 'The Happy Poet'. a happy poet? i'll be the judge of that! yet, bill is a tough nut to crack. he does not smile in this movie. he has almost a lack of affect. still, his language does rev up when his passions are fired up. especially when his partner in the food business sort of betrays him in the third act.
naively does bill jump into the food cart business. we find him in the supermarket buying produce & tofu. why he doesn't use a food wholesaler? i don't know. we see him in the kitchen making his famous sandwiches, like the eggless egg salad sandwich [that does look & sound pretty darn tasty], & we see bill set up camp in auditorium shores. i name the place because austin is as much a character as any person in this film. bill almost gives up the business on his lackluster first day when a slacker named curtis, played by chris doubek, asks to try one of the sandwiches. curtis loves it. he becomes a friend who hangs out with bill during business hours & helps out in exchange for free food.
a bit later donny, played by jonny mars, rolls up on his scooter to bill's cart who also loves bill's food. donny in a short time becomes the driving force of the business, its marketing director, & the delivery driver because he has a scooter he uses to make deliveries. but it is curtis who names the business The Happy Poet because, as curtis says, bill is a poet. when bill protests that he is not writing much to call himself a poet curtis says that his way of life & the things bill does is the poem. which puts me in mind of a saying attributed to a possible apocryphal danish poet, paul la fluer, 'being a poet is not about writing a poem. it is about how you live your life.' bill does indeed try to make his life the poem by his food cart & a new found love interest, agnes, wonderfully played by liz fisher, who happens upon bill's cart during her lunchbreak. bill is like dante before beatrice. he gets all googly eyed & even more tongue tied.
soon, bill's lack of business savvy shows. he is soon out of money even tho his business is doing quite well. donny does his slight betrayal & bill hits bottom. does he come back up? does a petrarchan sonnet have an octave & sestet? paul gordon has crafted a beautifully slow paced comedy. its leisurely rhythm belies a sweetness to its principals. each person is holding on to life with a death grip. & when agnes gets bill to read her a poem the result is both poignantly sweet & awkward. gordon proves that poetry & happiness can, like keats' negative capability, live in the same person without irritable reaching after fact & reason.
needing to pee in guerneville
pretty little community on the russian river & very little is open. a few shops with limits on how many persons can be inside at a time. a couple of restaurants with outdoor seating. we arrive to find a place to have lunch. i knew i shouldn't have had that second cup of coffee before we left. man! i gotta go! covid-19 restrictions make finding a public toilet a challenge. yet, the Safeway is open. we pull into the parking lot. i mask up. go into the store. at the deli i ask the masked worker if there is a bathroom. much to my relief & delight she said it is around the corner. these are the only public bathrooms & there is a line. holy shit! i take my place in the queue. i take out my phone. very little cell reception. i manage to text anna where i am & how long i might have to wait. social distancing makes the line seem longer. behind me is a woman. she tells me she is a travelling nurse. she says there are only two public bathrooms in this community because of the pandemic. the other is across the street at the gas station. i'm almost delirious. time dilates to a single point of need. the travelling nurse is telling me something. about the pandemic & her work. about her travels. the points between a & b & the precautions she must take for her own safety. i am doing my best to concentrate. i am doing my best to listen. i am doing my best. as i wait. as i listen. & fail at my listening. i feel it behind my eyes. my temples. time becomes a pulse.
driving napa
long thread of road
early spring morning
trees stripped & bare
blackened trunks & limbs
earth charred
a moonscape
of hills
& towns with names like
santa rosa st. helena
& after the fires
homeowners live in
trailers & RVs
as they rebuild their homes
& see that the dead trees are cleared away
watching aliens [1986] directed by james cameron & starring sigourney weaver reprising her role as bad-ass survivor ripley. ripley is rescued after drifting in deep space for 57 years. she wakes in a hospital bed on gateway station [i've never known that fact until now when i rewound the movie to hear the nurse call it that] in low earth orbit. later, ripley is in her flat on gateway station. burke, the company man, is doing his persuasive best to get ripley to accompany a squad of marines because the alien creature that had killed off one by one ripley's crew 57 years earlier on the interstellar freighter nostromo is now doing its killing on a group of colonists there to terraform an alien planet. ripley has not been on planet earth for well over 60 years by now. she lives & works on gateway station. burke & a marine lieutenant pays a visit to ripley in her flat to try, again, to help the marines know what kind of creature[s] they will confront & battle by going with the troops to the far space colony. ripley rebuffs the men & tells them she is late for her job as a warehouse/dock worker on gateway station. i wonder what it would be like, feel like, to live & work in space, even if it be low earth orbit. would you miss the rays of the sun on your naked face? the wind & rain & snow? the changing temperatures? the revolving seasons? the shadows cast by the sun? would you miss them even if you never knew them? if you were born & raised in low earth orbit? would earth become an alien planet to you? or would our genes, our dna, our brain structures, our internal software, always miss the earth. a world we might have never known? because never does ripley say, to anyone, fuck you all, i'm going back home to earth. never in the world of ripley, when interstellar travel is not only possible but common, does she ever say, i miss the earth. she might not even have been born on earth. i know i'd miss the earth. & all the things she gives us in abundance. but then, i was born on this planet. i will die on this planet. this earth is the only home i'll ever know. & yet, i am looking at ripley's small flat, its size & shape very much like a NYC or SF studio apartment, in low earth orbit. with wonder & rage.