Friday, 12 January 2018

Dead Poets Society #63

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Sylvester’s Dying Bed by Langston Hughes

I woke up this mornin’
’Bout half-past three.
All the womens in town
Was gathered round me.

Sweet gals was a-moanin’,
“Sylvester’s gonna die!”
And a hundred pretty mamas
Bowed their heads to cry.

I woke up little later
’Bout half-past fo’,
The doctor ‘n’ undertaker’s
Both at ma do’.

Black gals was a-beggin’,
“You can’t leave us here!”
Brown-skins cryin’, “Daddy!
Honey! Baby! Don’t go, dear!”

But I felt ma time’s a-comin’,
And I know’d I’s dyin’ fast.
I seed the River Jerden
A-creepin’ muddy past—
But I’s still Sweet Papa ’Vester,
Yes, sir! Long as life do last!

So I hollers, “Com’ere, babies,
Fo’ to love yo’ daddy right!”
And I reaches up to hug ’em—
When the Lawd put out the light.

Then everything was darkness
In a great ... big ... night.

Thursday, 11 January 2018

Last night's set lists

At The Habit, York: -

Set 1: -
Unknown Legend
Through My Sails

Set 2: -
Teach Your Children
There Stands The Glass

A grey, misty day heralded a cold, quiet night at The Habit. Despite a shortage of players, which meant 2 sets from those who wanted to play on, the bar was never empty - a constant stream of punters in fact. Ron being away on holiday meant no Elderly Brothers songs this week. As is often the case, the after-show acoustic session was most enjoyable, with songs by Fleetwood Mac, The Beatles, Pink Floyd, Eric Clapton and of course Neil Young.

Wednesday, 10 January 2018

Phil Collins remembers The Alamo...

Yep. That Phil Collins...
Image result for phil collins the alamo bbc radio
Phil Collins: King of the Wild Frontier

The largest private collection of Alamo memorabilia resides in an impressive Geneva home in Switzerland. Also resident is singer songwriter and Genesis drummer - Phil Collins.

Davy Crockett and The Alamo are his very private passion and Collins invites presenter Patrick Humphries into his home to talk us through his impressive collection. We discover how he began collecting, where he secures his artefacts and how he has organised excavations through the profits of a gift shop at the famous Alamo battle site.

We have all heard of The Alamo but why does this American battle of March 6th 1836, when 180 Texans fought an army of 6,000 Mexicans still resonate nearly two centuries on? Collins is very knowledgeable about this particular period of American history and talks impressively about the framed the documents and letters, the dozens of rifles and swords, authentic uniforms and the many artefacts collected across 30 years. His comments, are complemented by Historian Bill Chemerka and we hear Film buff Lee Pfeiffer, he talks us through films and TV series which have enshrined the Alamo in many young minds 50 years ago.

Crockett was a largely forgotten hero, but his legend was reborn in the 1950s thanks to a Walt Disney TV show, which also introduced his legendary coonskin cap into his legacy. The John Wayne Alamo movie also raised Crockett's profile. The programme also hears from a living relative of Davy Crockett, his great great great grandson also called Davy! He reveals how the family see his famous father's legend and the events at The Alamo. However it's Patrick's visit to Phil Collins home that makes sure this is a different kind of history programme, revealing in the process why this particular piece of American history touches people so deeply.

It's available on BBC iPLayer (which you'll need to sign up for - it's free) for another 29 days (and counting...): 

And an update on the collection:

Phil Collins donates Alamo collection to Texas museum

27 June 2014

Singer Phil Collins has donated his extensive collection of Alamo memorabilia to a Texas museum.

The 63-year-old Genesis star said he had amassed more than 200 artefacts after becoming fascinated with the 1836 battle as a child.

Collins said he was donating the collection - thought to be the largest in private hands - to ensure it was better cared for in the future.

It includes items such as a rifle owned by folk hero Davy Crockett.

At an event announcing the donation in San Antonio, Collins joked he had spent "all the money I made from music" on his collection related to the battle where 1,500 Mexican troops laid siege to 200 Texans fighting for Texas independence.

"Some people would buy Ferraris, some people would buy houses, I bought old bits of metal and old bits of paper," he said. He explained he first became interested in the Alamo after watching the 1950s TV series Davy Crockett, King of the Wild Frontier.

"I've had a love affair with this place since I was about 5 years old. It's [all] at my home, in my basement in Switzerland. I look at it every day, but no one else was enjoying it."

The collection also includes Crockett's leather shot pouch, a pair of powder horns which the soldier is believed to have given to a Mexican officer before his death, muskets belonging to Mexican soldiers and one of the original Bowie knives, made famous by Alamo defender Jim Bowie.

Texas land commissioner Jerry Patterson said Collins would pay to ship the collection to Texas with the understanding the state would use public funding and private donations to redevelop the Alamo site - including a new building to house the collection.

The collection will begin arriving in Texas in the next few months and will be displayed on a rotating basis at the museum.

Collins said he would continue buying Alamo memorabilia and "once I've lived with whatever I buy for a month, I'll ship it over here".

And if you really want to push out the boat, there's a book:

Tuesday, 9 January 2018

Sonny Rollins a Night (and an Afternoon) at the Village Vanguard

Image result for sonny rollins at the village vanguard
Sonny Rollins Spent A Mythical 'Night at the Village Vanguard' 60 Years Ago Today

Nate Chinen
3 November 2017

One of the greatest jazz albums ever made was recorded 60 years ago today. It's A Night at the Village Vanguard, a live date by saxophonist Sonny Rollins, featuring a muscular backdrop of bass and drums. It's not a carefully plotted concept album, nor a manifesto, but a document with the slangy nonchalance of a conversation overheard on the street, extemporaneous and unburdened. It's a slice of musical vérité that captures a true master of the form on a good day, in a generous and jocular mood.

At 87, Rollins is an acknowledged eminence in American culture: Earlier this year his archives were acquired by the Schomburg Center for Research in Black Culture at the New York Public Library, and there's a serious effort afoot to rename the Williamsburg Bridge in his honor.

He's also legendarily self-effacing, the harshest critic and most reluctant listener of his own past work. By his estimation, he hasn't heard A Night at the Village Vanguard since shortly after it was released. But, when I asked him to talk about the album and the circumstances around its creation, he readily obliged.

"The Vanguard was sort of the premier room at that time," he recalls, speaking by phone from his home in Woodstock, N.Y. "A lot of guys played there, and they all seemed to express the music without any sort of impediment. I felt particularly comfortable."

In the original liner notes to the LP, released on Blue Note Records in 1958, Leonard Feather notes that it "constitutes a double premiere." He's referring to A Night at the Village Vanguard being both the first live documentation of Rollins as a bandleader and the first album recorded the Village Vanguard, a wedge-shaped basement room regarded, then and now, as "one of New York's foremost havens of contemporary jazz."

Feather doesn't make much of it, but A Night at the Village Vanguard is a slightly misleading title, because the album also includes material recorded at an afternoon matinee. The evening trio features bassist Wilbur Ware and drummer Elvin Jones, an assertive rhythm team that combined high-end volatility with the feeling of firm traction underfoot. In the afternoon, Rollins used Donald Bailey on bass and Pete La Roca on drums — a pairing with plenty of firepower but less mystery and nuance.

Each trio carves up a standard-heavy menu, with Rollins' tenor out front. He's a garrulous, but never gratuitous, host, wheeling through tangents and drawing thematic connections. Whether caressing songbook ballad "I Can't Get Started" or charging through his own boppish "Striver's Row," he sounds athletic and inspired, completely in the zone.

Generations of saxophonists have drawn inspiration from this document — especially when working in the spartan format of tenor, bass and drums, with no chordal instrument to trace harmonic contours or provide helpful cover. I've seen Joshua Redman with his trio at the Vanguard, paying an unspoken tribute to Rollins that felt both compulsory and earnest. I've heard similar echoes in pianoless trios led by the tenor sax players J.D. Allen, Jon Irabagon and Melissa Aldana, among many others.

Two nights ago, during a benefit for Puerto Rican hurricane relief at the Jazz Gallery in New York, saxophonist Branford Marsalis teamed up with Larry Grenadier on bass and Bill Stewart on drums, in what seemed an ad-hoc grouping. Their first tune was a swinging romp through Cole Porter's "Just One of Those Things," precisely the sort of tune you'd expect to hear from a Rollins trio, with a buoyant sense of phrase (and even some choice quotations) that made the homage clear.

Jon Irabagon, who calls A Night at the Village Vanguard "a formative album for me," gave it a fresh listen this week, and was struck again by its genius. "Rollins had one foot completely in the tradition, he was mining these standards, and he was also part of the aliveness — the surging life-quality — of jazz," he said. "Then it's the harmonic freedom, the melodic integrity and just the playfulness that he had. It's not beholden to some kind of codified language. There are so many surprises and twists and turns. You can hear the entire history of jazz on that record, up to that point."

It would be misleading to imply that Rollins' heroic performance on A Night at the Village Vanguard is primarily of interest to other saxophonists. "It's a textbook example of what modern jazz improvisation should be," the pianist Fred Hersch pronounced in an email. "Sonny plays with intelligence, warmth, humor and an expressive technique that seems to know no bounds." Hersch, who literally wore out his first copy of the album, advises all his piano students to study it closely, "as a means to understanding the subtlety of phrasing and deep connection to rhythm that Sonny, Wilbur and Elvin display."

A powerful wave of acclaim carried Rollins to the Vanguard stage. He had been highly productive the previous year, recording a momentous run of albums for Prestige — including a defining statement, Saxophone Colossus. He then signed to Blue Note, recording his label debut, Sonny Rollins, Volume 1.

That same year he married the actress and model Dawn Finney, and while their union only lasted about a year, it yielded one enduring artifact: a genial 12-bar blues in B-flat major that Rollins titled "Sonnymoon for Two." It made its first recorded appearance on A Night at the Village Vanguard, kicking off the record's second side.

Rollins didn't have a working band at the time of his Vanguard debut, and although he'd used a quartet with pianist Wynton Kelly in a Blue Note session several weeks earlier (for the album Newk's Time), he kept tinkering with his personnel. Feather reported in his liner notes that the first week of the engagement featured a quintet, with trumpet as well as tenor in the front line.

"I was very tough on guys," explains Rollins. "And during that whole period when I was at the Vanguard, I remember I was firing a lot of guys that came in to audition by playing a set. I let go of a lot of people. I know that I was a pretty hard taskmaster at that time." He doesn't specifically recall a trumpeter, but according to research by Lewis Porter and other historians (in The John Coltrane Reference, on Routledge), Donald Byrd appeared with Rollins at the club.

The tinkering ended with the group recorded on the evening of Nov. 3. "I had the ideal trio in Wilbur and Elvin," Rollins says. "I mean, if I wanted to present myself as the Sonny Rollins Trio – well, I certainly had no excuses with Wilbur Ware and Elvin Jones."

Ware was known in New York at the time as the bassist in the Thelonious Monk Quartet; Rollins first met and played with him in Chicago in 1949, in a circle of local players that included the spectacular drummer Ike Day. "He was terra firma," Rollins said of Ware, "and that's one of the requirements of playing in the trio."

As for Jones: "Elvin was definitely one of my favorite drummers, as far as rapport," Rollins said. "He was more proactive than other drummers. It fit exactly with what I heard. You know, that laid-back sort of six beat that he had, which he played so expertly."

What Jones and Ware produced together, more than any other configuration during the run, was a quality of assertive engagement, notably in the realm of rhythm, without stepping on their leader's toes. "I'm a soloist, so what I needed was support," he said. "I needed support from the bass, I needed support from the drums. And these guys could give me support."

To call it "support" isn't entirely accurate, though, as Rollins himself admits. "When I'm playing trio, everybody has to know what they're doing," he added. "Everybody's out front. Even if they're supporting me."

A Night at the Village Vanguard was released in two volumes, but in 1999 Blue Note released a "complete" edition on CD. That version, now available on an array of streaming services, is a trove of insights, shedding light on the original LP. Among other things, you can hear a version of "A Night in Tunisia" played by the evening trio, at a less urgent tempo; it's wonderful, but you can see why Blue Note's Alfred Lion decided to interpolate the matinee take.

You can also hear Rollins' banter between songs, casual and welcoming, but with a faint ironic air. At one point, introducing "Old Devil Moon," he identifies it as a song from the Broadway musical Finian's Rainbow, but then wonders aloud: Was it actually from Kiss Me, Kate? The consensus in the room — Finian's Rainbow — is correct, but Rollins still isn't sure. He proceeds in a deadpan: "So we'll now give you 'That Old Devil Moon' from the hit show Lil Abner." The scattered laughter that follows is the first sound you hear, fading up, on the original LP.

When I brought up "Old Devil Moon," Rollins said it was one of his favorites. "I believe that song was from Kiss Me, Kate," he added. "But I don't know about that."

He loves the song, composed by Burton Lane, specifically for its harmonic architecture, and what it enables an improviser to do. "The form was perfect for me," he said. "I could say what I wanted to say in the declarative way that I was playing. The melody just fit right into that. That song, it gave me just the right structure for me to say what I was saying."

A Night at the Village Vanguard began a glorious, ongoing tradition of live albums made at the club, more than a few recorded by Rudy Van Gelder, manning his equipment from a table by the stage. The saxophonist John Coltrane and the pianist Bill Evans each made stone classics there in 1961. The custom continues to this day.

But there was never a follow-up Vanguard recording from Rollins, which may have something to do with the club's founder and owner, Max Gordon. When I asked about his rapport with Gordon, Rollins bellowed with laughter, paused, and then laughed some more. "Yeah, sure, I had a rapport with Max," he said. "Max was very astute. He knew what was good. I don't know how come he became such an expert on guys, but he did know a lot of stuff."

Gordon died in 1989, and his widow, Lorraine Gordon, took over the club. Max Gordon's memoir — Live at the Village Vanguard, first published in 1980 — includes a wry chapter titled "Sonny's the Greatest," with a lot of emphasis on the eccentricity and unreliability of its subject. Gordon also seemed to feel that Rollins used the club as a stepping stone. "Yeah, I know all about Sonny Rollins," the chapter begins. "He's up in the big time now."

What's remarkable about the legacy of Rollins' album is that both he and the Village Vanguard are still with us, 60 years on. This evening, the Fred Hersch Trio will be in the club, paying homage simply by bringing their best. "As one who has played (and recorded) for many years at the Vanguard, I can attest that the sound of this record captures the acoustics of the club quite faithfully," Hersch said. "There is a buzz in the air that you can feel, and it makes you believe that you have the best seat in the house for this evening of extraordinary music-making."

And whatever residual feelings Rollins may have, he doesn't hesitate to say that he takes pride in the historic attributes of his album. "That was an extra little blessing, really," he said. "You know, starting the tradition of recording there. So I'm very proud of the fact that it was the first album from the Village Vanguard. There's something otherworldly about the fact that that was the album, and it wasn't that bad."

Monday, 8 January 2018

Saturday, 6 January 2018

J. D. Salinger: still waiting...

So Where Are the New J. D. Salinger Books We Were Promised?

By Matthew Haag
The New York Times
25 October 2017

After decades of silence, the famously reclusive writer J. D. Salinger finally had something to tell the world: Leave me alone.

It was November 1974, and Mr. Salinger briefly stepped out from his secluded life in a small New Hampshire town to denounce the unauthorized release of his early works. In that interview, one of his last before his death in 2010, he confirmed he was still writing — long hours and every day, he said.

J. D. Salinger called a reporter at The New York Times in November 1974 to criticize the unauthorized release of some of his early writings.

Nothing new by Mr. Salinger has been published since 1965, and no one close to him has suggested after his death that anything ever will be. But in 2013, a documentary about the author and a related book offered a bold assertion: He had not only continued writing, but also left detailed notes to his trust about releasing the material between 2015 and 2020.

The blockbuster claim sent a ripple through the publishing world and became the subject of numerous news stories. “Rebel in the Rye,” a new film about Mr. Salinger released in theaters last month, makes clear that he continued to write long after his last work was published.

But it is almost 2018 and no books have been released. So where are they?

“Yeah, what came of those?” Matthew Salinger, the author’s son, said in a brief phone interview this month.

When the author’s widow, Colleen O’Neill, answered the phone at her home in New Hampshire this month, she said, “I’m sorry, I can’t take this phone call,” and hung up.

Mr. Salinger, who controls the J. D. Salinger Literary Trust along with Ms. O’Neill, shares his father’s disdain for the public spotlight. Did his father continue writing late into his life? Did he leave anything to be published?

“You are not going to get an answer from me,” Mr. Salinger said. Before hanging up, he added, “I would consider the source.”

The source was “Salinger,” the 2013 documentary and book by the same name, by David Shields and Shane Salerno, who spent nine years researching and producing them. In the last pages of the book, they cite two “independent and separate” anonymous people who assert that J. D. Salinger left instructions “authorizing a specific timetable” for the release of five additional works.

Over the years, a friend of Mr. Salinger’s, a former lover and even his daughter, with whom he had a difficult relationship, said he continued to write, both exploring new tales and picking up where his published stories had ended. His daughter, Margaret Salinger, wrote in her 2000 memoir, “Dream Catcher,” that her father had shown her his “vault” in his home, where he wrote in privacy and marked manuscripts with colored dots indicating what was to be edited, published or discarded after his death.

Ms. Salinger could not be reached for comment, and her book publicist said she had not worked with Ms. Salinger in years and did not know how to find her.

But all of the claims lacked specificity until “Salinger,” which detailed what Mr. Salinger was said to have written, edited and prepared for publication. The five works came from what Mr. Salinger compiled from 1941 to 2008, according to “Salinger.”

One new book, “The Family Glass,” is said to include five new stories about the Glass family, who also appeared in the 1961 book “Franny and Zooey” and other stories. There would also be a novel set during World War II and based on his first marriage; a novella about his time in the war; and a retooled version of the short story “The Last and Best of the Peter Pans” that would include new stories about the Caulfields, the fictional family in “The Catcher in the Rye,” his signature 1951 book that remains required reading for high school students every year.

Mr. Salerno, who produced and directed the documentary, said in a recent interview that he stood by the claims. He said the veracity of the assertions in “Salinger” could be questioned only if nothing were published by Jan. 1, 2021.

“How did I ever manage to get any of this stuff without Matthew Salinger?” Mr. Salerno wrote in an email. “It’s very simple, despite his fervent hope to be the only source about his father, Matthew Salinger is ultimately just one source. It’s critical to point out the following: Matthew Salinger has never disputed a single fact contained in either the book or film.”

Throughout his life, J. D. Salinger craved control over his writings. When he broke his silence in 1974, he agreed to an interview with The New York Times so he could condemn the publication of “The Complete Uncollected Short Stories of J. D. Salinger, Vols. 1 and 2,” an unauthorized release of his early writings. (“Some stories, my property, have been stolen,” he said.)

His last published work, “Hapworth 16, 1924,” appeared in The New Yorker in June 1965, but Mr. Salinger decided in the mid-1990s to release it as a novella. He chose a small publishing company, Orchises Press, and demanded that the distribution be limited, that bookstores could not discount the price and that his name not be included on the cover.

But shortly before the work’s release, a reporter uncovered details about it in a Library of Congress catalog, and the story spread. Afterward, Mr. Salinger never called Orchises Press to finalize the publication and it was never released, Roger Lathbury, the company’s owner, recounted in New York magazine after the author’s death.

The author’s son and widow have continued to exert strict control over Mr. Salinger’s writings. His literary trust objected when a publisher in Tennessee compiled three of Mr. Salinger’s earliest stories, which it claimed were no longer under copyright, and printed them in an e-book and then in paperback. Two of the stories were first printed in the 1940s in the magazine Story, whose editor, Whit Burnett, is portrayed by Kevin Spacey in “Rebel in the Rye.”

The Tennessee publisher wanted to sell the book, “Three Early Stories,” overseas but claimed the author’s literary trust had worked with international publishers and literary agents to thwart its publication. The publisher, the Devault-Graves Agency, sued the trust but dropped the case in 2015.

As for whether Mr. Salinger’s fans should believe new books are coming, his son declined to say. Maybe one day he will reveal if any exist, Matthew Salinger said.

Friday, 5 January 2018

Wednesday night's set lists

At The Habit, York: -

Ron Elderly: -
Try A Little Tenderness
Just My Imagination

Da Elderly: -
Love Song
In The Morning Light

The Elderly Brothers: -
When Will I Be Loved
You Got It
The Sound Of Silence
Then I Kissed Her
I Saw Her Standing There

Walking along Goodramgate at about 8:30 you could be forgiven for thinking that York was shut. When we entered The Habit there was a good sized crowd along with one or two players. By the time the PA had been set up we had more punters and several more players. Two local lads made their open mic debut with some Smiths songs. Regular Deb (pictured) played her own January Blues and surprised us with Abbey Road's Golden Slumbers. Ron kicked off with an Otis Redding classic and the evergreen Just My Imagination had everyone singing. As the night wore on, the audience thinned out and by 11:30, when we took to the 'stage' there were about 20 people in the bar. Luckily they were all up for some Elderly tunes and sang along - great fun!

Thursday, 4 January 2018

Peggy Cummins RIP

Peggy Cummins, the lethal outlaw in noir classic 'Gun Crazy,' dies at 92
Peggy Cummins, Gun Crazy's iconic femme fatale, dies aged 92
Irish actor Cummins never quite conquered Hollywood but she made her mark in the 1950 film noir classic, as well as cult horror Night of the Demon

Steve Rose
The Guardian
Tue 2 Jan 2018

Irish actor Peggy Cummins, who left her mark as the brazen femme fatale in the film noir Gun Crazy, has died aged 92, having suffered a stroke. She died in a London hospital on 29 December, surrounded by family, her friend Dee Kirkwood told the Hollywood Reporter.

Cummins, who was born in Prestatyn, Wales, began acting as a child, having been spotted at a tram stop in Dublin by a theatre owner. She made her debut on the London stage aged 13. After a stint in British cinema, in 1945 she went to Hollywood, where Darryl F Zanuck, head of 20th Century Fox, cast her as the lead in Otto Preminger’s Forever Amber. “Fox made a big splash for me when I came over. I weighed 98 pounds and had an 18-inch waist,” she later said.
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Gun Crazy (1950) with John Dall

Her Hollywood career was short-lived, however. Zanuck deemed her too young and “not sexy enough” for Forever Amber and replaced her with Linda Darnell. Cummins would get her revenge with Gun Crazy, a lurid, pacy, bracingly modern low-budget thriller in which she played Annie Laurie Starr, an ambitious carnival sharp-shooter who falls in with a fellow gun obsessive (John Dall). They go together like “guns and ammunition”, he tells her, but it’s Cummins who calls the shots, pitching the lovers on a Bonnie and Clyde-style crime spree. “I’ve been kicked around all my life and from now on I’m gonna start kicking back,” Annie Laurie tells him.
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Moss Rose (1947), a period noir with Vincent Price

Gun Crazy went on to inspire the French New Wave and 1970s Hollywood. French auteur François Truffaut reportedly screened the movie for the writers of the 1967 classic Bonnie and Clyde. (Cummins even wore a beret in Gun Crazy, two decades before Faye Dunaway.) Jean-Luc Godard’s debut Breathless is also indebted to Gun Crazy. Meanwhile, its ingenious off-camera heist scene – executed in a single, three-minute take, shot from the getaway car – looks to have influenced Edgar Wright’s recent Baby Driver.
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The Night of the Demon (1957) with Dana Andrews

Cummins returned to Britain in 1950 and continued to work in movies, including British noir Hell Drivers and Jacques Tourneur’s cult horror Night of the Demon, before retiring from acting in the mid-60s, after which she devoted her time to her family and the independent charity the Stars Foundation for Cerebral Palsy. She is survived by her son David and her daughter Diana.

Peggy Cummins on Night of the Demon:

Peggy Cummins talks to Eddie Muller about her career and Gun Crazy:

... and if you love Noir and don't have Muller's Dark City, you need to do something about it!

Monday, 1 January 2018

Happy New Year!

Image result for Kim Addonizio

New Year’s Day by Kim Addonizio

The rain this morning falls
on the last of the snow

and will wash it away. I can smell
the grass again, and the torn leaves

being eased down into the mud.
The few loves I’ve been allowed

to keep are still sleeping
on the West Coast. Here in Virginia

I walk across the fields with only
a few young cows for company.

Big-boned and shy,
they are like girls I remember

from junior high, who never
spoke, who kept their heads

lowered and their arms crossed against
their new breasts. Those girls

are nearly forty now. Like me,
they must sometimes stand

at a window late at night, looking out
on a silent backyard, at one

rusting lawn chair and the sheer walls
of other people’s houses.

They must lie down some afternoons
and cry hard for whoever used

to make them happiest,
and wonder how their lives

have carried them
this far without ever once

explaining anything. I don’t know
why I’m walking out here

with my coat darkening
and my boots sinking in, coming up

with a mild sucking sound
I like to hear. I don’t care

where those girls are now.
Whatever they’ve made of it

they can have. Today I want
to resolve nothing.

I only want to walk
a little longer in the cold

blessing of the rain,
and lift my face to it.