It was ELO’s fault.

Why instead of begging my mom for extra allowance money so I could buy a record album
I should have declared vendetta on the Electric Light Orchestra.

by Matt Mason

 

I was in love with a girl.
And I can say this with absolute certainty,
as I was in eighth grade,
and eight graders know what love is

in ways that you all grow out of
with your big feet, bad skin, left at the pizza place and walking four miles so
you don’t have to call someone for a ride and explain,
your first kisses, shocking tongue in your mouth, cheeks turned floodplain “experience.”

I didn’t need experience.
I had Saturday afternoon movies on channel 6,
I had heart-in-fist dedications on Casey Kasem,
I had first-run Love Boat still on TV,

so fuck your coward jaded blissful first-hand knees-quaking “love,”
I was in love with a girl
and she wouldn’t call me back.
I had tried everything.
And by “everything,” I mean
every thing: I tried funny,
awkward,
self-deprecating,
I tried uncoordinated, I tried brainy,
I tried stories in class about Santa being hit by an airplane Night Before Christmas style (and
on the nose of the plane arose such a clatter, the pilot knew at once Saint Nick was a splatter)
I tried everything.
I was in love with a girl
and the months were winding that love so tight
it could slip and fly across the classroom and crack
against the blackboard,
I was in love with a girl
and finally at the point,
sitting on the lion-print sheets of my bed,
of admitting love
was not enough,

that love!
was not!
enough!

to bend this universe as it needed to be bent.
I was in love with a girl
and sighed
and turned on my radio
to WOW or Sweet 98 or whatever the hell it was
and they said “Here is a new song by ELO,”

and there’s Jeff Lynne telling me “Hold on tight to your dreams,”
even adding emphasis by rephrasing it in French: “Accroche-toi à ton rêve,”
and, damn, Universe,
you had me going,
I almost gave up on love,
on love!

In the hindsight of adulthood,
of thirty years unlearning what I learned that day,
of good dates, bad dates, eyelashes, bra straps,
yelling “What the fuck do you want from me!” loud enough to be heard four apartments down,
heart-shaped cards, roses and rings, fourteen small teddy bears (one for every month),
poetry that said way too much about the goddamn moon,
the disproportionate surprise of warm breath on the inner ear,
that the Electric Light Orchestra

maybe could have been a little more specific.
That “Accroches-toi à ton rêve,” I never did look that up,
it might only mean: “Don’t eat croutons;”

DJs are not waiting like archangels
to set the cosmos off their turntable wobble; they
tie up the request line talking to their girls,
making promises,
that sound too much
like pop songs,

they’re underpaid dudes
who put needles onto grooves
and let it
all
spin.

 

Matt Mason: “My favorite poem is one that, at first, makes me wonder if it’s a poem. I love a poem written because that’s what the poet wanted to write and they didn’t worry if it fit the mold or definition or what they were lectured a poem is supposed to be. Not that we shouldn’t study the traditions and forms and histories, but poems like that shine for me: they have surprise, coming in disguises instead of the formal suit or gown we all thought they were supposed to wear back when they were set in front of us in high school. These are the poems that, had they been set in front of me in high school, would have gotten me on fire for poetry years earlier.”

Nothing Compares.

Some souls are simply too sensitive to live in such a harsh world. She was one.

He could not wait to show me…

Ohio Dove

She lay at our feet with a metal arrow
through her chest, the arrow angled in
the ground not far from the lilac
nest where she’d been sitting.
Because he owned the bow, or that
he went by his last name,
or that his peach fuzz had darkened,
Cunningham said he was taking my turn.

He could not wait to show me
how it’s done, the killing.
If only quick, like turning off a lamp.
The dove lay gasping in the too sudden
present tense. Cunningham pressed
his shoe down hard,

then took the arrow out from her. Because
I’d not had my heart broken this close up
before, I held the bird extra, said good aim
then placed her back in the lilac bush
so no one could see. I heard my mother’s
dinner bell in the distance wringing
the dry air in my throat. I walked home and ate all
her steamed kale, because it was good for me.

—from Rattle #79, Spring 2023

Mark Rubin: “I write because it’s a way of rendering the heartaches that come from being alive. As a certified curmudgeon, I have an edgy, ongoing sense of wonder, if not reverence, for small things in the natural world, and big things that move through me as a result. I am most happy when I can get out of my own way.”

Gordon Lightfoot - Sundown

Ring Them Bells

I share here a remembrance of Gordon Lightfoot, written after seeing him perform back in 2012 on a rain-soaked evening in Toronto’s Massey Hall. I never sought to have it published. I somehow knew it should wait until now.

Textbook weather for Gordon’s concert this evening: rain-slicked streets, brisk winds, classic moody November evening in downtown Toronto. His band was minimalist, as is his wont. To wit, lead guitar, bass, drummer, keyboards, and himself. None of them under 60. I’d seen a couple of them on stage with him many times before.

Gord struts out with his characteristic long stride, guitar at his hip– on the stroke of eight bells, of course — to thunderous applause, seeming still a little shy and embarrassed by it all, amazingly. (He even joked about the night before how, because of the city’s subway breakdown he’d had to start eight minutes later. Eight whole minutes. Oh the horror, he said. And we all knew he was only half kidding.

Opened with Did She Mention My Name? Closed with Blackberry Wine. In between, everything from If You Could Read My Mind to A Painter Passing Through.

The crowd was quiet (save for the one requisite (by then) shout of “We love you, Gord!”  very attentive (dare I say, Canadian?), reflective, appreciative, almost conspiratorial, you know that feeling Gord (and Gord alone) inspires in hometown crowds? It was so obvious everyone there was delighted to see him back onstage for another go.

Yes, he is frail, ravaged, bone thin, and easily looks his age (71). Actually, he looks like any of a dozen down on their luck guys who used to hang around (seemingly in rotation) outside one of the hotels in the small town where I lived as a child. His voice wavers and falters from time to time and he whispers when he should shout, but no matter. His spirit is fully intact. His delivery is so evocative, so exquisite, he reminds you with each outing that he is the one who wrote the stuff – that no one gets it like he does — and no one, of any age or stage, will ever do it better. Michael Buble, take a seat. And hush.

We did hear at least a few pins drop at Massey Hall that night, especially during Song for a Winter’s Night. (He rarely does that tune and it was utterly bewitching.) His rendition of Step Back (one of my top five of his) was rollicking, everyone up and rocking, what a great tune that is to move to, and then he headed into Early Morning Rain. Wistful, evocative, iconic, all.

Let it go/Let it happen like it happened once before… from the song Shadows. Another captivating rendition. This one in particular brought to mind Dylan’s comment about Lightfoot: “Whenever I hear a Gordon Lightfoot song, I hope it never ends.”

His banter with the crowd was so relaxed, so unscripted, he charmed the boots off all of us. He riffed randomly, about writing songs on airplanes, the perfect place for it, he says, with the juxtaposition of stars above, cities below… getting his “shoulders lowered” as a boy at the town barber shop in Orillia, and his joy at being “home” and playing for us again.

A gentleman, pure and simple. And a poet non pareil. By the end, he even makes you believe his lustrous words: “Everything will be fine by and by.”

A legendary story about Lightfoot resulted from a concert he did long ago in his hometown of Orillia. A young man in the audience was hit by a flying bottle and had all of his front teeth knocked out. Lightfoot heard about it and went to visit the young boy, on his own, no fanfare. Before he left he gave him a check to cover all his medical expense.

The fire is dying now, my lamp is growing dim
The shades of night are liftin’
The morning light steals across my windowpane
Where webs of snow are driftin’
If I could only have you near
To breathe a sigh or two
I would be happy just to hold the hands I love
Upon this winter night with you.

 Lightfoot didn’t care for interviews. Apparently, he was rather shy. But no matter. His songs tell us everything we need to know.

Listen to The Affair on Eight Avenue, for me always his most exquisite song.  https://youtu.be/KTu_Uu0TgTQ

I will miss you, Gord. We all will.

The Weight Of It All

Life’s not hard enough,
so let’s invent a foe so fearless,
So shameless,
That it doesn’t toy with your dreams
So much as mocks them.
A tyrant that hands you back, ravaged,
After it’s done its worst.
And even though we call on everything we know
In defense,
Science, all of it, yes,
The tiny powdered capsules of hope, thrice daily,
The temples gelled, the paddles clamped securely,
Still we are brought to our knees.
We may summon the gods, too.
If there be such things,
And if there are,
Now would be the perfect time
For them to show up.

Writer and Poet

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Tricia McCallum

Always be a poet. Even in prose.
Charles Baudelaire.

In essence I am a storyteller who writes poems. Put simply, I write the poems I want to read.[…]

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