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All right, begin by imagining George C. Scott and Shirley
Jones (as she was presented in the cinematic musical production of Oklahoma!), moaning in bed… Wait, do I have to? Skip it…
It gets better: Here’s a segue, right into a profound
pronouncement for you, about the geopolitical state of the world, after
B./Henry declares himself a “potent” Communist:
—as
we all know,
the peoples
in the East
have no sexual problems, have no
problems
but housing & food &
ideology:
Um…Really?
So Lenin crossed the border and took on the Revolution in
Russia, and we all know the result of that
little junket. Ideology, no food, etc. But there’s compensation for us back
here in the West.
But the
issue of Miss Jones & Mr Scott
comes at us
lovely & sane.
Perhaps I’m missing something regarding the loveliness and
sanity of this “issue.” It took me awhile to make something out of the Spanish
Armada poem, DS 361, and that paid off. This?
God bless
our fate in the West.
Now, maybe there’s some kind of sarcastic criticism here of
Western mass media’s exploitation of sexuality, its cynical tapping into
base-level psychological drives in order to sell its product, and “God bless
our fate in the West” drips with irony. We in the West are consequently so
loaded down with psychological insecurities that it’s a wonder we can ever pair
off and have sex at all. (Maybe, fifty years on, that explains those Viagra
commercials and all those Cialis emails that flood my Inbox!) But no. The poet
is really saying, if those movie
stars “should not prove hot”—the West’s last, best go at a valorizing public
eroticism—then I’m moving to the USSR, where people there (as they say) with no
hang-ups “f*** like minks”. (That’s a phrase that circulated widely during my
misguided, misspent Western adolescence.) Them Soviets, you know, raised a lot
of minks, both as models and guides to uninhibited weasel-like fornication, I’m
thinking, and as a reliable source of fur for ladies’ coats and those cool fur
hats with the ear flaps and big red stars on the front the men wear when it’s
forty below zero in Siberia.
Maybe. But whatever its true object in the poet’s mind, I
rather tend to think this poem slips on the ice and falls flat on its face.
Likely it’s a drunken poem, fantasizing as the bedroom ceiling whirls, just
before that inevitable confrontation with the toilet, that Scott and Jones are
getting it on, lovely & sane in all their pro-Capitalist XXX hot moaning. (Geez,
I swear, some days, this project takes a practically inhuman commitment…)
I suspect this poem is better than you think. But maybe I just enjoyed the sheer weirdness of coupling Shirley Jones and George C. Scott.
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