Amazon Rainforest Sunset (August 2019) — Image by kenne
Spending time on the river walking its banks, seeing the variety of wildlife, that lingers there, makes for beautiful paintings and photographs, for people to admire.
Tom Russell has great respect for Warren Zevon’s work, but probably none more than “Carmelita,” which he combines with Charles Bukowski’s, “Crucifix In A Deathhand,” on his Modern Art CD. By putting the two together, Russell demonstrates his appreciation and understanding of Bukowski’s words and the lyrics of Warren Zevon. It just so happens that “Crucifix In A Deathhand” is my favorite Bukowski poem.
Crucifix In a Death Hand
yes, they begin out in a willow, I think the starch mountains begin out in the willow and keep right on going without regard for pumas and nectarines somehow these mountains are like an old woman with a bad memory and a shopping basket. we are in a basin. that is the idea. down in the sand and the alleys, this land punched-in, cuffed-out, divided, held like a crucifix in a deathhand, this land bought, resold, bought again and sold again, the wars long over, the Spaniards all the way back in Spain down in the thimble again, and now real estaters, subdividers, landlords, freeway engineers arguing. this is their land and I walk on it, live on it a little while near Hollywood here I see young men in rooms listening to glazed recordings and I think too of old men sick of music sick of everything, and death like suicide I think is sometimes voluntary, and to get your hold on the land here it is best to return to the Grand Central Market, see the old Mexican women, the poor . . . I am sure you have seen these same women many years before arguing with the same young Japanese clerks witty, knowledgeable and golden among their soaring store of oranges, apples avocados, tomatoes, cucumbers – and you know how these look, they do look good as if you could eat them all light a cigar and smoke away the bad world. then it’s best to go back to the bars, the same bars wooden, stale, merciless, green with the young policeman walking through scared and looking for trouble, and the beer is still bad it has an edge that already mixes with vomit and decay, and you’ve got to be strong in the shadows to ignore it, to ignore the poor and to ignore yourself and the shopping bag between your legs down there feeling good with its avocados and oranges and fresh fish and wine bottles, who needs a Fort Lauderdale winter? 25 years ago there used to be a whore there with a film over one eye, who was too fat and made little silver bells out of cigarette tinfoil. the sun seemed warmer then although this was probably not true, and you take your shopping bag outside and walk along the street and the green beer hangs there just above your stomach like a short and shameful shawl, and you look around and no longer see any old men.
– – Charles Bukowski (Source: Oldpoetry.com)
There’s a video on YouTube of Russell in a live performance talking and singing about Charles Bukowski, Warren Zevon, and Dave Van Ronk that will give you a better feel for this morning distraction.
We spent some brief moments with brother Tom during our trip to Seattle for Lisa’s and Mike’s wedding on Lummi Island (August 29, 2009).
It’s never been easy for anyone to figure out the Turner boys, let alone one to the other. In some ways, however, if you know one of us, then you know the other. We are very much alike, but selectively taking some similarities to an extreme (by choice and personality), which appear different.
This video is about my brother; therefore, it’s about me.
“The cat’s in the well and grief is showing its face The world’s being slaughtered and it’s such a bloody disgrace.”
— kenne
For Crying Out Loud (September 2009)
(The video can be enlarged by clicking on HD at the top right and the four arrows in the the lower right corner.)
He had a blue wing tattooed on his shoulder Well, it might have been a bluebird, I don’t know but he’d get stone drunk and talk about Alaska The salmon boats and 45 below
Well, he got that blue wing up in Walla Walla and his cellmate there was a Little Willy John and Willie, he was once a great blues singer so Wing & Willie wrote him up a song
Another Glass Of Wine My Dear (April 5, 2007) — Image by kenne
Have Some Medeira, M’dear
She was young, she was pure, she was new, she was nice She was fair, she was sweet seventeen. He was old, he was vile, and no stranger to vice He was base, he was bad, he was mean. He had slyly inveigled her up to his flat To view his collection of stamps, And he said as he hastened to put out the cat, The wine, his cigar and the lamps: Have some madeira, m’dear. You really have nothing to fear. I’m not trying to tempt you, that wouldn’t be right, You shouldn’t drink spirits at this time of night. Have some madeira, m’dear. It’s really much nicer than beer. I don’t care for sherry, one cannot drink stout, And port is a wine I can well do without… It’s simply a case of chacun a son gout Have some madeira, m’dear. Unaware of the wiles of the snake-in-the-grass And the fate of the maiden who topes, She lowered her standards by raising her glass, Her courage, her eyes and his hopes. She sipped it, she drank it, she drained it, she did! He promptly refilled it again, And he said as he secretly carved one more notch On the butt of his gold-headed cane: Have some madeira, m’dear, I’ve got a small cask of it here. And once it’s been opened, you know it won’t keep. Do finish it up. It will help you to sleep. Have some madeira, m’dear. It’s really an excellent year. Now if it were gin, you’d be wrong to say yes The evil gin does would be hard to assess.. Besides it’s inclined to affect me prowess, Have some madeira, m’dear. Then there flashed through her mind what her mother had said With her antepenultimate breath, “Oh my child, should you look on the wine that is red Be prepared for a fate worse than death!” She let go her glass with a shrill little cry, Crash! Tinkle! it fell to the floor; When he asked, “What in Heaven?” She made no reply, Up her mind, and a dash for the door. Have some madeira, m’dear. Rang out down the hall loud and clear With a tremulous cry that was filled with despair, As she fought to take breath in the cool midnight air, Have some madeira, m’dear. The words seemed to ring in her ear. Until the next morning, she woke in her bed With a smile on her lips and an ache in her head… And a beard in her lug ‘ole that tickled and said: Have some madeira, m’dear!
Is there for honest Poverty That hings his head, an’ a’ that; The coward-slave, we pass him by, We dare be poor for a’ that! For a’ that, an’ a’ that. Our toils obscure an’ a’ that, The rank is but the guinea’s stamp, The Man’s the gowd for a’ that.
What though on hamely fare we dine, Wear hoddin grey, an’ a that; Gie fools their silks, and knaves their wine; A Man’s a Man for a’ that: For a’ that, and a’ that, Their tinsel show, an’ a’ that; The honest man, tho’ e’er sae poor, Is king o’ men for a’ that.
Ye see yon birkie ca’d a lord, Wha struts, an’ stares, an’ a’ that, Tho’ hundreds worship at his word, He’s but a coof for a’ that. For a’ that, an’ a’ that, His ribband, star, an’ a’ that, The man o’ independent mind, He looks an’ laughs at a’ that.
A Prince can mak a belted knight, A marquis, duke, an’ a’ that! But an honest man’s aboon his might – Guid faith, he mauna fa’ that! For a’ that, an’ a’ that, Their dignities, an’ a’ that, The pith o’ Sense an’ pride o’ Worth Are higher rank than a’ that.
Then let us pray that come it may, As come it will for a’ that, That Sense and Worth, o’er a’ the earth Shall bear the gree an’ a’ that. For a’ that, an’ a’ that, It’s comin yet for a’ that, That Man to Man the warld o’er Shall brithers be for a’ that.
David Hidalgo, Los Lobos Guitarist — Photo-Artistry by kenne
Cortez the Killer
He came dancing across the water With his galleons and guns Looking for a new world A palace in the sun On the shore lay Montezuma With his cocoa leaves and pearls In his halls he often wondered The secrets of the worlds Oh, and his subjects gathered round him Like leaves around a tree In their clothes of many colors For the angry gods to see And the women all were beautiful And the men stood straight and strong They offered life in sacrifice So that others could go on
Hate was just a legend And war was never known The people worked together And they lifted many stones They carried them to the flat-lands And they died along the way They built up with their bare hands What we still can’t build today And I know she’s living there And she loves me to this day I can still remember when Or how I lost my way
Cortez, Cortez He came dancing across the water Cortez, Cortez
Came dancing across the water
Came dancing across the water Cortez, Cortez Dancing across the water Dancing across the water Dancing across the water Came dancing across the water Cortez, Cortez Dancing across the water Dancing across the water Dancing across the water
Pala Casino, Spa and Resort Pool Area — Images by kenne
Since moving to Tucson ten years ago, we have annually spent Thanksgiving with Joy’s family in southern California. However, because of COVID, this year, we will be staying in Tucson.
Instead of the usual big family get together (as many as 25 people), we decided to meet two of Joy’s sisters (Jody and Jeri) at a neutral location, and of course, for them, it would have to be a casino.
So, last Wednesday, we drove to Pala Casino, Spa, and Resort, which is located in the mountains northeast of San Diego. Since I’m not into gambling, I spent time around the pool, took photos of oranges, and listen to live music in the casino. During past visits, I usually spent time walking the 1.5-mile Pala Band of Indians Cultural and Nature Trail behind Pala Spa. This time it was closed.
We returned to Tucson last Friday.
(During this time of COVID, we have found casino resorts to be relatively safe, keeping everything clean, requiring social-distancing and masks, except when eating and drinking.)
With so much of my knowledge of literature I was taught by my brother, Tom. In an April 26, 2003 note from him, he wrote:
“Hey . . . you Metaphysical degenerates . . . Bantered alone by impulse . . . Here I am attempting to essay a few coherent thoughts . . . God it’s risky! ‘God and the imagination are one.’
I am in the midst of trying to memorize a poem . . . ‘Final Soliloquy of The Interior Paramour’ by Wallace Stevens . . . never mind why.”
Tom goes on to write about a piece by George Steiner on memorization amid the technological revolution where media is ubiquitous:
“The danger is that the text or music will lose what physics calls its ‘critical mass,’ its implosive powers within the echo chambers of the self.”
He continued — “I can really be in awe of Shakespearean stage people in recitation of exact lines!! Read closely . . .”
Our wills and fates do so contrary run that our devices still are overthrown: our thoughts are ours, their ends none of our own. (The Player King’s Crucial Speech in the Play Within the Play — Act 3, Scene 2, 183-209-Hamlet)
I probably don’t need to tell you that Tom never memorized the Wallace poem.
Final Soliloquy Of The Interior Paramour
Light the first light of evening, as in a room In which we rest and, for small reason, think The world imagined is the ultimate good.
This is, therefore, the intensest rendezvous. It is in that thought that we collect ourselves, Out of all the indifferences, into one thing:
Within a single thing, a single shawl Wrapped tightly round us, since we are poor, a warmth, A light, a power, the miraculous influence.
Here, now, we forget each other and ourselves. We feel the obscurity of an order, a whole, A knowledge, that which arranged the rendezvous.
Within its vital boundary, in the mind. We say God and the imagination are one… How high that highest candle lights the dark.
Out of this same light, out of the central mind, We make a dwelling in the evening air, In which being there together is enough.