Sea Fever: The Lovely Poem from ‘Dolphin Tale’

Posted on September 25, 2011 at 3:05 pm

“Dolphin Tale” features one of my favorite poems, “Sea Fever” by John Masefield.  Here it is:

I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel’s kick and the wind’s song and the white sail’s shaking,
And a grey mist on the sea’s face, and a grey dawn breaking.

I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls crying.

I must go down to the seas again, to the vagrant gypsy life,
To the gull’s way and the whale’s way, where the wind’s like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick’s over.

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Books
Poems About Movies and Movies About Poets

Poems About Movies and Movies About Poets

Posted on April 7, 2011 at 9:59 am

Happy Poetry Month!
The wonderful “pÕÎ-trÉ” blog has a terrific selection of poems about movies. And there have been great movies about poets like “The Barretts of Wimpole Street” (about the courtship of Elizabeth Barrett and Robert Browning), An Angel at My Table (about Janet Frame) and the documentaries about Rumi, Billy Collins, and Charles Bukowski. And the movie Deliverance was based on a novel by the poet James Dickey.
Many movies take their titles from poems, like A Raisin in the Sun, which comes from a poem by Langston Hughes and Invictus.
Characters in movies often recite poetry. Movies are written by writers, after all, and writers love words. In “Awakenings,” “The Panther” by Rilke illustrates the isolation and bleakness of a patient’s inner life:

His vision, from the constantly passing bars,
has grown so weary that it cannot hold
anything else. It seems to him there are
a thousand bars; and behind the bars, no world.

As he paces in cramped circles, over and over,
the movement of his powerful soft strides
is like a ritual dance around a center
in which a mighty will stands paralyzed.

Only at times, the curtain of the pupils
lifts, quietly–. An image enters in,
rushes down through the tensed, arrested muscles,
plunges into the heart and is gone.

One of the most memorable scenes in “Four Weddings and a Funeral” is the heart-breaking funeral service with W.H. Auden’s Funeral Blues:

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He is Dead.
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last forever: I was wrong.

The stars are not wanted now; put out every one,
Pack up the moon and dismantle the sun,
Pour away the ocean and sweep up the woods;
For nothing now can ever come to any good.

(more…)

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Books
Ntozake Shange of ‘For Colored Girls’

Ntozake Shange of ‘For Colored Girls’

Posted on November 1, 2010 at 3:28 pm

Acclaimed poet/playwright Ntozake Shange is best known for her 1975 “choreopoem” play, “for colored girls who have considered suicide/when the rainbow is enuf,” written when she was just 23. This week, it comes to screen directed by Tyler Perry, starring a stunning collection of extraordinary women of beauty, elegance, and power.

Shange was born Paulette Williams in Trenton, New Jersey on October 18, 1948, the daughter of an Air Force surgeon and an educator and psychiatric social worker. In 1971 she changed her name to Ntozake Shange which means “she who comes with her own things” and “she who walks like a lion” in Xhosa, the Zulu language. Ms. Shange has struggled with illness for many years but she and her sister have published a new book, Some Sing, Some Cry: A Novel, a sweeping saga of 200 years of history through the voices of seven generations of women called by Publisher’s Weekly “a complex poetic treatise on race, culture, love, and family, the use of regional vernacular, dialect, and pure song, resulting in a provocative fictional history.”

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Behind the Scenes
Howl

Howl

Posted on October 14, 2010 at 6:00 pm

B
Lowest Recommended Age: High School
MPAA Rating: NR
Profanity: Very strong and explicit language with sexual references, some crude
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: None
Diversity Issues: A theme of the movie
Date Released to Theaters: October 15, 2010

In the post-WWII era of peace and prosperity — and the Cold War and the blacklist and conformity — a small group of writers found much to terrify and infuriate them. “I saw the best minds of my generation destroyed by madness, starving hysterical naked,” one of them wrote, the beginning of a barbaric yawp of a poem of fury and protest called “Howl.” His name was Allen Ginsberg.
This movie is not the story of Ginsberg (smoothly played by James Franco), who would go on to become one of the 20th century’s most acclaimed and influential poets, though he is affecting, even at times electric. It is the story of the poem itself, taking us back and forth between three key moments. First is Ginsberg’s own performance, reading the poem aloud in a small, smoky club. Second is an interview two years later with a now-bearded Ginsberg in his apartment. And third is a courtroom, where the obscenity charges brought not against Ginsberg but against his publisher, fellow poet Lawrence Ferlinghetti, were being argued.
“Experts” (Mary-Louise Parker, Alessandro Nivola, Jeff Daniels) debate the literary merit and destructively prurient content of Ginsberg’s work on the witness stand. The prosecution (David Straithairn) argues that the poem is so detrimental to the minds of Americans that it should not even be seen. For the defense, Jake Ehrlich (“Man Men’s” Jon Hamm), with a natty four-cornered pocket square handkerchief, who shows the court that far more important than any expert’s opinion on the value of Howl as a work of art is the freedom for Americans to decide that issue for themselves.
And for me at least, that is where the real poetry is.

(more…)

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Based on a book Based on a true story Biography Courtroom Drama Movies -- format

‘Idols’ Around the World

Posted on November 16, 2009 at 3:46 pm

Cynthia Schneider, former US Ambassador to the Netherlands and specialist in international culture, tells the TED audience about the impact of “Idol”-style television programs around the world. We know how winning can transform the lives of the performers. She helps us understand how watching these shows can transform the lives of the audience.

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