She Liked Inspector Maigret

 Elise Moeller Ostrom, 1927-2023

When her husband my uncle died,
I sent her a note and a mystery novel.
When next I saw her, she said,
"Thanks for your note and for not
sending me a goddamned book on grief."

She has just died, age 95, after decorously
drinking a lot of beer and devouring
crime novels for seven decades.
I never saw her not composed. She
saved that for privacy.

Her opinions firm as tungsten,
she voted liberal and pro-union
but wanted results, not fools
prattling ideology.

Her father was a football coach
and she married one, followed
fanatically the S.F. 49ers. Into old age,

she grew flowers, stacked her own
firewood, shoveled snow, and
fed migrating doves. We liked
each other a lot because, I think,
we liked words. Love? Grief?

Well, sure, but with restraint.

hans ostrom 2023

Elegy for Robert Bly (1926-2021)

Flying white hair, cravats, vests,

panchos. Sing-speaking your poems
as you played the lute. Sixties protest
poems, great leaps to Spanish and French
surrealism, a carom north to Friends, You Drank
Some Darkness Swedes. A farm-boy
Norwegian who went to Harvard (and
dated Adrienne Rich once), a troubadour
who hustled a living on the college tour
but would never get stuck in Swamp Tenure.

Once when I saw you read, a student got
up and left, and you said, "Where are you
going--to masturbate?" You were like

one of those friends I hated to go to bars
with--you liked to start fights (without fists.)

Bless you for trying to unharden the arteries
of American poetry, for riffing like a standup
comedian, for making poems explode
and burying Modernists. Then came
your "Men's Movement," well meant
but tin-eared, and Iron John, a Cinderella
for men. After I became a prof,

you came to campus and got the Methodists
dancing to a Brazilian chant. We walked
across campus and you couldn't help but
skewer other poets. When we parted,
you asked, "Are you fond of me, Hans?"
"Yes," I said, "I'm fond of you, Robert." Needy,
like a three-year old. Brilliant, like a mad
scientist. Big hearted--in defiance of cold
fathers everywhere. Well done and--
literally--good show, Robert. I see you
there, dancing on the moon.

Chalmers

          (Chalmers Gage, 1918-2018)

He was a dairy farmer
in Elk Grove, California.
The Valley. The fingers
of his hands were as thick
as saplings, and when he
took a dip of Copenhagen
tobacco, he loaded a third
of a can between lip
and lower teeth. He never

raised his voice. Gave
the impression the world
at large permanently
perplexed him, as if he
were asking himself,
Why do people make
everything so hard when
work is hard enough?"

Of his wife, he sometimes
said, "I don't think I'll ever
figure that gal out." Not
complaining. Just saying.

In his sixties he sold the farm
and lived another 35 years.
Died at a hundred, quiet like,
the one last job to finish.


hans ostrom 2019

Betty's Version of Time

Every death shatters time. For instance,
Betty, 92 years old, died, eased (we tell
ourselves) out on a morphine drip. Her
consciousness housed a vast museum

of time with complex installations composed
of fantastic materials perception had gathered
and memory had refined into alloys. There
were fabrics woven of intimacies, light,

fear, houseplants, brooms, secret beliefs,
desires, cooking, laughing, parenting, and
itching. Neuro-video loops played on angled
surfaces. Betty's sense of Betty

powered the place, a generator deep
in the basement. It all collapsed in an instant
just after 3:00 p.m. one day. Betty's magnificent
version of time, gone.


hans ostrom 2018

Elegy for Richard Hugo

Elegy for Richard Hugo

(1923-1982)

You said to wait ten years before

trying to write an elegy about someone

who just died. I waited more than three times

that. No doubt it's not enough.

So, something here about a lake's face

changing--ripple, riffle, wrinkle; you

said never use semicolons. (I’m kidding

a kidder.) "Be glad to fish

with you sometime," you wrote in

in the one letter to me, "but I warn you,

I'm strictly a bait fisherman.” If that

were on Twitter now, I'd favorite (a verb, sir)

it and tweet back, No worries. You

haven't missed much. Let's say

a man sits on a rock. He's connected

to a lake, call it Saw Lake, by a fishing

line. He's not really waiting for anything.

He’s drinking beer. A hit, a strike, would be fine,

a rousing thing. Just over the ridge

doesn't lie a town. That's why

nobody's heard of it. I will say

women and men who work at the factory

there return from a women's softball

game, someone won, who cares. Now

everybody will wash their hair, their bodies,

put on clean jeans, heave on the nice

boots, and go out and dance and drink

and kiss and hug and fight. The

man on the rock has seen the rusted

iron roofs of just that town. He

wonders if he should call them rooves.

The lake tugs him away from words

but not for long. "There you go," he says.

Hans Ostrom copyright 2016

"Music I Heard With You," by Conrad Aiken

"Stephen Spender (1909-1995)"

Re-posting one from several years ago.

Re-Posting One for Memorial Day: "For Charles Epps"

For Charles Epps

(1953-1971)

What's left these 38 years after Charlie
died? The same as what was left a minute
after he died: an avalanche of absence.
I've visited the grave. I always go alone. I
let morbidity, a pettiness, arise, think
of what's under ground, including
the baseball uniform in which they put
his body. It's easy to move past small,
awful thoughts. What's left to resolve?

Everything. He ought to be alive. God
knows that as well as I. My knowledge
stops there. I don't know why he died,
only how, when, where, and with whom--
Sonny Ellis. Their death numbed,
scandalized, and scarred me, but so what?
I got to live at least 38 years more
than they. When I die, so will my grief,

and so it goes. Like an instinctive,
migratory mourner, I think of Charlie
at least four times a year and every May
and try to think of something more to say.


Copyright 2009 Hans Ostrom

For Charles Epps

&
*
*
*
*
*
*
*
*
*
*
*
For Charles Epps

(1953-1971)

What's left these 38 years after Charlie
died? The same as what was left a minute
after he died: an avalanche of absence.
I've visited the grave. I always go alone. I
let morbidity, a pettiness, arise, think
of what's under ground, including
the baseball uniform in which they put
his body. It's easy to move past small,
awful thoughts. What's left to resolve?

Everything. He ought to be alive. God
knows that as well as I. My knowledge
stops there. I don't know why he died,
only how, when, where, and with whom--
Sonny Ellis. Their death numbed,
scandalized, and scarred me, but so what?
I got to live at least 38 years more
than they. When I die, so will my grief,

and so it goes. Like an instinctive,
migratory mourner, I think of Charlie
at least four times a year and every May
and try to think of something more to say.


Copyright 2009 Hans Ostrom

The Ode, the Elegy, the First Draft

Today in the poetry-class I teach, we discussed two venerable types of poetry, the elegy and the ode. Among the topics we touched on was the apparent fact that it is difficult to identify subjects about which to write a serious ode, partly because "all the good ode-subjects have been taken" (at least at first glance it seems that way), partly because we live in skeptical, cynical, jaded times, and partly because the ode itself is encountered most often as a parodied form in advertising. Ultimately we brainstormed a list of possible subjects for serious odes. The list included mud; phobias; plastic; relatively invisible or under-valued persons who "serve" us as baristas, janitors, or waiters (etc.) [and most in class had worked in such jobs]; electricity; and food. The topic of food triggered a nice transition into our reading and discussion of Pablo Neruda's splendid "Ode to the Watermelon," as translated by Robert Bly.

When we discussed possible topics for an elegy, a poem about loss, we set aside the most obvious topic: the death of a loved one, and we brainstormed a list of "lost things" about which we might write an elegy. The list included health, wealth, virginity, hair, jewelry (or some other object with symbolic and/or commercial value), pets, space (for example, a field on which houses were later built), security, winter (for example, in some regions where it used to snow in winter, no snow now falls), one of our senses, keys, childhood, adolescence, and a wallet.

We saved 12-15 minutes toward the end of class in which to begin to write a poem, or at least to work our way toward a poem. Occasionally in that amount of time, one can come up with a whole draft, or at least a draft ("whole" is debatable).

For the heck of it, I decided to post the first (and so far only) draft I wrote, as is. I chose to write about a lost wallet.

[no title]

The first time I lost a wallet,
I didn't lose it--it was
stolen from a gray metal locker
I had not locked.

I remember sitting on the bench
in the vacuum left by theft.
I knew then what I don't
know now: the exact amount
of money stolen; the name
of the girl in the photograph;
and to whom the phone numbers
belonged. Those area-codes signify

much smaller geographic areas
now, and now my wallet is obese, swelled
with fatted plastic cards and multiple
ways of proving I exist. The first lost
wallet moved, thin and quickly, through
the crowd, possessed by a satisfied
thief, whom I wish well.