Thursday, June 20, 2024

News and Ideas Worth Sharing

HomeArts & EntertainmentTwo poems: The...

Two poems: The Cormorant’s Apology; Small Infinities

"Now that the big election's over, we can all get back to pondering what's really important... poetry," writes Kurt Kruger, in a note accompanying two poems that he feels complement each other.
The Cormorant’s Apology


“Let it roll off your back like water,”

the mallard said to me.


“But water doesn’t roll off my back,”

I said,

“It seeps in and fills the spaces in my feathers.

I couldn’t dive otherwise,

and I dive deep,

and I stay down a long time,

and whether or not I’ve brought anything back,

by the time I surface,

I’m exhausted, wet, and cold,

and I can’t fly or even swim

until I’ve stood off by myself

and dried out.

I’m not a duck.”


*     *     *


Small Infinities


Why can’t I play too?


Everyone’s outside

Playing ball


And here I am,

Looking out

The bay window

With the aspidistra,

Practicing my violin,


Scales, arpeggios,

Air on the G String


(I’d rather be airing out someone’s g-string).


Then I hear it,

In the spaces

Of the melody,


The infinity between 1 and 2.



Get Daily Updates From The Berkshire Edge!


The Edge Is Free To Read.

But Not To Produce.

Continue reading

Explore La Biennale Di Venezia 2024 on The Berkshire Edge!

I will be in residence in Venice from April 18th to May 29th. During my time in Venice, I will be a “roaming art reporter” for The Berkshire Edge. There are over 200 exhibitions being held throughout Venice during the Biennale, which translates into exciting art to show up in your morning edition of The Berkshire Edge.

REVIEW: Celtic Baroque band Makaris charms Mahaiwe crowd on St. Patrick’s Day presentation by Close Encounters with Music

They demonstrated their competence with musical forms that rely more on elegance than complexity to achieve their ends. And they succeeded in ways that some of their more "serious" works never could.

FILM REVIEW: ‘The Old Oak’ directed by Ken Loach

Loach has always believed (too sanguinely) in the power of the working class, but his recent work has been much less optimistic about the workers capacity to transform a recalcitrant social and political world.

The Edge Is Free To Read.

But Not To Produce.