Hello in 2010 this is the poem | ||
This is the poem | ||
That argues (isn't that annoying?) | ||
They were the ones who walked away | ||
From Omelets no Omelas stupid story | ||
There was a perfect city and | ||
There was an imprisoned child and | ||
The first depended on the other | ||
The child can't really talk | "feeble-minded" | |
You know how that goes, don't you? | ||
You know how that goes in stories | ||
They're always sweet angels or perfect sad cases | ||
And at the end some people walk away | ||
They walk away from Omelets | little oubliettes | |
every village has one | ||
Where do they walk to, these good people? | ||
The author can't describe that place it must | ||
Exist oh yes the world being Omelas would | ||
"It is possible that it does not exist" | ||
But they know where they are going, do they? | ||
The world being Omelas would be | ||
When you leave a place you find another place | ||
Just like the first | not that hard to say | |
The world being would be | go around, return to start | |
do nothing, you do your part | ||
you can't walk away | ||
The world being Omelas, no, omelets | ||
No one got that big O after all | ||
We have lots of broken eggs. All over! | ||
We make that omelet every day | ||
Middle-aged people with children | ||
Like you and me, that's what we do | ||
If we didn't try to say "Look, a broken person!" | ||
"There's been a break!" then those deaths would | ||
Be for nothing | ||
It would be | ||
A waste | ||
The transformation of waste is perhaps the oldest | ||
The transformation of waste | pre-occupation of man | |
There must be a way to take the remains | ||
And make it whole (again?) | ||
And make them whole again | ||
Oh shit | ||
Here's how the second story goes | ||
And it's even true! | ||
Once there was a country (and we know, | ||
We know better than to say exceptional) | ||
But a country in which some suspects were | ||
Prosecuted justly. It was back in 2001 | ||
that there were 2 million people in prison | ||
Back in 2001 that prosecutors tried | ||
terrorists justly | ||
and two years later six hundred thousand | ||
genuine and legitimate! There was credibility | ||
and integrity, then there was a radical break | two years later we built a mountain | |
That hasn't been fixed but we can | of six hundred thousand skulls | |
Yes we can | ||
They were good people, the prosecutors | ||
And did good, civilian trials are good, | ||
And that's what goodness means in an omelet | ||
It means that you can make more good omelets | ||
And all of us would like to be good | ||
And that's what good does it makes it good | ||
For the people who say that we are good | ||
And since we are good | can't stop cooking, can't step back | |
We can build a city on a mountain | eggs arrive, already cracked | |
making omelets, nowhere to turn | ||
all you can do is LET IT BURN | ||
No, we can't let it burn | ||
The fire if it comes would be darkness not light | ||
And anyways, middle-aged people with children, | ||
We may not be good but we persist | ||
We're not allowed to give up | ||
the transformation of waste | ||
So yes the transformation of waste | ||
People like the lie that once we were good | ||
Before the break and so we will tell that lie | ||
And maybe that will get them to be good | ||
The living are more important than the dead | ||
Well, the woman I knew from El Salvador | ||
Isn't really dead but whatever! | ||
I'll go and say that once America didn't torture | ||
Or rather that we didn't torture openly and | ||
Formally and perhaps that made a difference | ||
To her when she heard the head torturer | ||
Speaking English-accented Spanish | ||
And I'll go spit on the grave of a Salvadoran child | ||
(Well not the grave, they never found the body) | ||
Who was tortured (more tolerably?) by proxy | ||
What's a little spit? | yeah, you and what spitting army | |
Well. | ||
That's a problem. | ||
Does anyone really care what we say? | ||
The One who matters says America doesn't torture | ||
And that's how it is | the first lie of Omelas: there's somewhere to go | |
the second is that these are children, you know | ||
Does it matter what we say? | ||
We aren't rescuing children | ||
They aren't children in our prisons | ||
(Well yes some of them are) but the bad scary | ||
Terrorists that our America depends on | ||
That America depends on to make us feel good | ||
Are doing what people always do in prison, | ||
Or when they hide out in the hills somewhere, | ||
People who can talk: they are writing, | ||
Writing that our system is unjust | ||
And I think that they don't really care about | ||
Our noble, useless spit | ||
Or are we lying for America, for "us"? | ||
I'd rather not lie then kthxbye | ||
The third story is mine I don't see why not | ||
Poetry in the first person is annoying but it is mine | ||
why should I care about truth | the truth will never really set you free | |
and the lying homilies we tell about truth | it's what you do that matters, not what you see | |
see what you like as long as you're yoked | ||
My daughter's 1st grade teacher waves an | and speaking truth to power is a joke | |
American flag for the class, teaches a song | ||
And my daughter sings John Lennon's "Imagine" | ||
At the music festival two massive lies all lies | ||
You can say there are dreamers, they are not | ||
The only ones, but there are so many more | ||
People dreaming approvingly | ||
Of hellscapes she could not even imagine | ||
I lie to her too | ||
I tell her that things are basically going O.K. | ||
Maybe when she's older | ||
I'll tell her that there was a radical break | ||
Just before she was born | ||
When we formally approved of torture | ||
And there's still the hope of fixing it | not even Obama can strangle hope | |
Why should I care? It's a hobby I guess. Like | no this is a lie too why not admit | |
Science fiction. Not everyone has to like it. | there don't seem to be many chances at all | |
since no one knows what will make the thing fall | ||
might as well not be lying when standing in shit | ||
since none of us knows what the future will bring | ||
"Freedom never existed | I can still be attached to true naming of things | |
And there's even less of it now" | ||
Freedom is what we take, or make | ||
While we frolic around the junk pile | memories of garbage cans and | |
It's not what we're given, formally | memories of garbage | |
Not in Omelas | ||
If one of us sees someone about to be thrown | ||
To Moloch then sure, say any lie you like | ||
About how we used to not throw people | ||
To Moloch quite in that way | ||
(Yes not formally a lie, formally true) | ||
And if it works, great! | ||
The living are more important than the dead | ||
We are the people who persist | ||
We never give up | Did this poem work? Was my sense preserved? | |
But the omelets are still being made afterwards | America, you get the fucking poets you deserve | |
And I don't think it's a contrradiction | I don't have the time for any more tries | |
To say that someone was saved from the frying | Even the best of us can only apologize | |
With our talk of fair trials this once | When my kids ask what I did in this time | |
But really we'd be better off without it | I'll say that I laughed and made a stupid rhyme |
Friday, June 4, 2010
The Ones Who
Labels:
poetry drafts,
politics
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I like this very much; one of your strongest poems. Long, but certainly earns its length.
ReplyDeleteI've often wondered if that le Guin story (or the William James passage she got the core idea from) isn't often taken the wrong way. I suppose I take it as a gloss on the 'a single death is a tragedy a million a statistic' idea ... which is to say: the happiness of the people of Omelas depends upon the misery of one child, and Le Guin's fable is in some sense about our complicity in the misery of others. But I wonder if, more particularly, it is saying something about the horror of individual empathy. It would be more intolerable to live in Omelas knowing that your happiness depended upon one child was suffering, than it would knowing that your happiness depended upon the suffering of millions of others. That's counterintuitive, perhaps; and morally idiotic; but I wonder if it isn't the truth.
Rich,
ReplyDeleteThe egg metaphor or egg diversion (whichever), speaks volumes here and sets the stage for some fantastic dialogue. I liked this a lot. I appreciated the meanderings and the speaker's questioning mind, esp whether or not it's the truth that should be spoke or the bullshit that "is" spoken. I appreciate where you went with this one including your sidebar commentary. This is certainly an expressive contemporary poem.
Linda Bratcher Wlodyka
floposo
Thanks, Linda and Adam. I'm going to write more about the Le Guin story specifically as soon as I get the energy.
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