“You have to go all the way to Washington,”
he said, “to find decent statuary.”
“Oh, you can find one or two in almost every city.
Its founder, some general or admiral,
some animal that oddly represents
a metropolis that has cast out its animals,
or penned them up in zoos, put them on leashes.
New York has quite a few, Boston as well,
and Chicago, well it likes sculpture,
but spend half an hour in Vienna
and you are overwhelmed with statuary.
Maybe they have lower standards there,
or far more history, but I suspect it is
that they don’t rush about on the winds
of whim, despite our endless example to them.
We greet as long lost friends,
having never before met
save sharing a place
a decade apart.
I strive to cling
to what was there
in that place, she,
fueled by the frustration,
has turned away
just because of it.
I go home to my words,
she to her art,
and we know
our paths will cross again.
“You know,” she said, “it is the critics,
they are the real problem, all holy
and self-proclaimed arbiters of taste,
deciding what is and is not art, as if
God spoke late one night and declared
to each one that he or she and only
he or she would determine what is art.”
I wanted to argue with her, but I
was standing in a gallery where
the signs requested silence, that
and I really had no argument
with what she said, for I knew
that taste was personal, that art
had no hard metrics, this is, this isn’t,
there is no ruler, no gauge, no scale.
Add to that the fact that I
truly love exotic mushrooms, morels,
enoki, the odder the better, and she
finds all fungus disgusting, belonging
in its earthly grave, and though wrong,
it is her taste after all, so there it is.
As you walk through
this particular space
will you see a small
child perched on a stool,
crayons in hand, a small
rectangle of paper
on the top of the desk
a world you could
never hope to understand,
or an older woman, leaning
on her walker, staring
into the canvas, struggling
to see each brush stroke
and three workmen
white hard hats, retractable
rules and laser levels,
measuring the gallery
against the blueprint
which are artists —
which is art —
does it matter?
Writing is an art form
that very many never see
but the unseeing of the work
is what elevates it to art.
This is what you often hear
from the unpublished, or even
from the denizens of small
press purgatory, the one
the Vatican will never acknowledge,
for the poets corner of heaven
is so deeply hidden away.
The words on the page
know better, they see the beauty
as they tumble from the pen,
and need no confirmation.
René Magritte was born and died
in Belgium, neither happened
on this day, but he painted
a most realistic picture of a pipe,
which he captioned “Ceci N’est Pas
Une Pipe,” which of course it was not
since it was only a picture of a pipe
and he entitled the work
The Treachery of Images.
This brings to mind a question:
if I say, Ceci est une poeme,
is that true, or am I engaging
in a mere treachery of words?
Draw me a picture of your answer,
if you would be so kind.