Celebrating Countee Cullen @ Woodlawn Cemetery, Bronx

Many a major American cultural figure is buried at Woodlawn Cemetery in the Bronx; Countee Cullen (1903-1946) is among them. One of the most important poets of the Harlem Renaissance, he is perhaps less read than Langston Hughes or Claude McKay, though several of his poems have solidified their place in the canon, among them "Incident," "Heritage," "Tableau," and "Yet Do I Marvel." Like McKay and unlike Hughes, Cullen worked almost completely in conventional forms, yet  as with both of these poets he explored questions of race, politics and society, and, like them, also touched upon sexuality, including (his) homosexuality, though with considerable discretion.

The award-winning poet Major Jackson has now edited a brand new gathering of Cullen's work, Countee Cullen: Collected Poems (Library of America, 2013) and in honor of its publication, Cullen's importance as a New York poet, and his presence in Woodlawn, the Poetry Society of America, in conjunction with the Woodlawn Conservancy, presented "Yet Do I Marvel: A Tribute to Countee Cullen," which featured readings of Cullen's work by Major and fellow poets Robin Coste Lewis and Rowan Ricardo Phillips, as well as vocal performances of song settings of Cullen's poetry by Alicia Hall Moran, with Brandon Ross (of the group Harriet Tubman). They did so in Woolworth Chapel at Woodlawn, which hosts the gravesites of a number of leading cultural and political figures of the past, ranging from Miles Davis and Billie Holiday to Duke Ellington and Herman Melville. It's worth visiting on its own, but the Cullen event made the event obligatory (and how perfect too to honor this great black queer poet on Pride weekend). I ventured up with friend and fellow poet Patricia Spears Jones, and am very glad I did.

Major Jackson, introducing the program

Brandon Ross, at left, and Alicia Hall Moran, at center

I must praise Alicia Hall Moran's singing and Brandon Ross's musicianship before I type any more words; as wonderful as it was to hear the poets, Hall Moran, whose voice and performances I've seen praised ecstatically before but which I've never heard live, added a completely new layer to Cullen's poems. The three songs she sang, "Deep River," "Two Wings," and "Prepare me one body," all arranged by the great Roland Hayes, brought out not just the spirituality of the poems, but their grounding in the Spirituals and the Sorrow Songs. Rowan invoked Longinus's description of "the sublime" and I would concur that Hall Moran certainly took these poems, and singing in general, to another place. I'll add that her enunciation made it possible to hear every word, and though she had a microphone, her projection was so rich and full she didn't need it.

Rowan Ricardo Phillips reading

Robin Coste Lewis bringing Cullen's words to life

The poets too did a fine job in bringing Cullen's words and works to life. Rowan recited "Incident" from memory; through her recital of several of his Epitaphs Robin showed the humor and wit that often get lost in discussions of Cullen, while also giving voice, through several others, to his queer facets; and Major, after an insightful, rooting introduction, read several unexpected poems, including "Shroud of Color" and "Mad Song," that demonstrated how current Cullen's poetry and politics are. All three poets selected judiciously from the rich store of Cullen's work and helped to give a fuller portrait of him and his art. I took notes on a number of the poems, and when I teach Cullen again I plan to use this volume and to introduce Cullen poems I hadn't considered (or didn't know about before) to my students. But first I plan to read the collection.

Everyone on the event's program: L-r (Charif Shanahan, PSA; Alicia Hall Moran;
Robin Coste Lewis; Major Jackson; Brandon Ross; Rowan Ricardo Phillips;
and Cristiana Peña, Woodlawn Conservancy)

Woolworth Chapel, Woodlawn Cemetery

Patricia photographing a large, felled tree
at Woodlawn

A sphinx keeping vigil in front
of the Woolworth crypt

Poem & Translation: Paul Verlaine + Reading at NY Botanical Garden

The bridge over the lily pond

Though I have many pots in the kiln right now, I did not want to let more than a week elapse since an I reported on an event I participated in at the majestic New York Botanical Garden, which is located in the Bronx: the final reading in the Poetry Society of America's Monet to Mallarmé series, this one dedicated to the poems of Paul Verlaine (1844-1896), the symbolist master, queer pioneer and among the truest musicians of French lyric poetry.

This past Sunday, introduced by PSA's Charif Shanahan, poets, critics and translators Patrick Phillips, Charles Ruas and I read just yards from the Botanical Garden's exhibit and recreation of Claude Monet's garden at Giverny in its Enid Haupt Conservatory. Each of us drew from the rich archive of Verlaine's works. I elected to read both in French and in English, with the translations all by Martin Sorrell.  Patrick Phillips focused on Verlaine's romantic poems, while Charles Ruas explored Verlaine's work after he was sentenced to prison for his 1873 shooting of Arthur Rimbaud (1854-1891), the young seer among poets with whom Verlaine fell madly, crazily in love, one of several amours fous that marked Verlaine's life.

Here is one of the poems I read, certainly one of Verlaine's most famous and exquisite, "Chanson d'automne," or Autumn Song. It is nearly untranslatable, in part because in any other language, including French's Romance cousins, it loses so much of its innate homophonous, rhyming, and assonant music, beginning with the first stanza's vowel sounds ("automne," "monotone"), some very nasal ("sanglots longs"), but all of which mimic and embody the "monotonous" music of (Autumn's) violins. Nevertheless, here is the poem, and my admittedly crude translation. Autumn nevertheless is upon us, and so Verlaine's gem feels right.  If you are in New York and are thinking of an interesting trip outside Manhattan and Brooklyn, the Botanical Garden is only 20 minutes by train from Grand Central Station, about $3.75 (I think) each way, and recreating Monet until October 21, 2012!

CHANSON D'AUTOMNE
Les sanglots longs
Des violons
De l’automne
Blessent mon cœur
D’une langueur
Monotone.

Tout suffocant
Et blême, quand
Sonne l'heure,
Je me souviens
Des jours anciens
Et je pleure

Et je m'en vais
Au vent mauvais
Qui m'emporte
Deçà, delà,
Pareil à la
Feuille morte.

Poem by Paul Verlaine (1844-1896). It initially appeared in his first collection,Poèmes Saturniens, in 1866.

AUTUMN SONG
The drawn-out sobs
Of the violins
Of autumn
Wound my heart
With a languorous
Boredom.

All worked up
And pale, when
The hour nighs
I recall
Days of old
And I cry

And I'm off
On an ill wind
That carries me
Hither, thither
Just as with a
Fallen leaf.

Copyright translation © by John Keene, 2012.

Here are a few photos from the Monet's Garden exhibit. Enjoy!
UPDATE: A photo from Charif Shanahan/PSA:

A listener, Phillips, me, Ruas, at the event

Photos (by me)









Une abeille!