That,
among other things, is what separates us.
I remember the openings of two stories I wrote more than forty years
ago. Both withered, never harvested: “No more jokes. I’ve had it with jokes.”
and “A baby cried.” The former was spoken by a drunk to a wall. Something about
futility. The latter was set in the balcony of a church sanctuary. Alphabetical
– get it? That I remember such things and wish to share them is shameful, of
course, but years of writing for newspapers set me straight. No talk of
writer’s block on the city desk. “Inspiration” is your ass at the desk,
writing. I most admire those writers who cultivate momentum.
“The
Asperger’s assists the process.” and “So does his humour.”
That’s
Trent Dalton in his recent profile of Les Murray, “Poet in Residence,” for The Australian. This is a splendid
profile of a great poet, now seventy-six years old and still writing. In poetry
and life, Murray, like Dr. Johnson, has always seemed more alive than the rest
of us, forever engaging the world, with an enviably vast pool of language in
his head. As to humor and cussedness, Dalton quotes Murray’s great elegy for
his father, “The Last Hellos”:
“Snobs
mind us off religion
Nowdays,
if they can.
Fuck
them. I wish you God.”
Dalton
quotes “Home Suite,” “It Allows a Portrait in Line-Scan at Fifteen,” "The Widower in the Country"and "Weights,"
and tells us Murray’s new book will be titled Waiting for the Past. While reading Murray, I feel like the little
girl on the cover of his Collected Poems
(1998).
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