Hugh Fox

 

Born in Chicago, 1932, polio at age 5, cured with new pre-Saulk experimental medicine, childhood immersed in opera, violin, piano, musical composition, art by his ex-violinist-turned-M.D. father, and
frustrated actress mother, then 3 years of pre-med and a year of Medicine, dropped out of medical school and got a B.S. (Hum.) and M.A.(English) from Loyola U.in Chicago, first trip to Paris, London, Florence, Rome, Amsterdam, etc., then a Ph.D.in American Literature from the U. of Illinois (Urbana-Champaign). Married Peruvian poet Lucia Ungaro de Zevallos. Prof. of American Literature, Loyola University in Los Angeles (now Loyola Marymount University), 1958-1968,Professor in the Department of American Thought and Language, Michigan State University (1968-1999). Now retired, Professor Emeritus. Fulbright Professor of American Studies/Literature, U. of Hermosillo, Mexico, 1961, U. Católica and Institúto Pedagógico, Caracas, 1964-1966, U. of Florianópolis, Brazil, 1978-1980. Married Maria Bernadete Costa, M.D. 1 yr. studying Lt. Am. culture at Mendoza Foundation (Caracas) with Mariano Picon-Salas. Organization of American States Grant to study Latin American Studies/Argentinian Literature, U. of Buenos  Aires, 1971. John Carter Brown Library Fellowship, Brown U., 1968 (Studies in sixteenth and seventeenth century Spanish economics and avant-garde literature). OAS grant as archaeologist, Atacama Desert, Chile, 1986.Lectures in Spain and Portugal 1975-’76. Founder and Board of Directors member of COSMEP, the International Organization of Independent Publishers, from 1968 until its death in 1996. Editor of Ghost Dance: The International Quarterly of Experimental Poetry, 1968-1995. Latin American editor of Western World Review & North American Review, during 60’s. Former contributing reviewer on Smith/ Pulpsmith, Choice etc. currently contributing reviewer to SPR and SMR.105 books published, the most recent Defiance (Higganum Hill Press, 2007) (poetry), Finalmente/Finally (Solo Press, 2007) (poetry), Opening the Door to French Film (World Audience, 2007) , Rediscovering America (World Audience, 2009) (archaeology), Alex (poetry chapbook, Rubicon Press), Peace/LaPaix (Higganum Hill,2008, another poetry chapbook), The Collected Poetry (World Audience, 2008...540 pages), Icehouse & The Thirteen Keys to Talmud (Crossing Chaos Press in London, Ontario. A novella and sci fi novel, 2009), Revoir (s.stories, All Things that Matter Press, 2009).

 

BRAZIL POEMS
May, 2010


SEM

Elephante de Kalahari Fox, esperando
mais uma vida e meia porque não ficava
em L.A. não me casei com Carole Schwin,
Lena (Horne) e Kathy (Hepburn), perdi
contato com Bill Blatty e Brian Avery
e escapei de minhas noites sempre cheias de
algo mais, mas ainda falando espanhol e
sempre sinto em casa com os meus
companheiros hispanicos, possivilmente
Venice, California teria sido o meu lugar,
uma casa velha agora toda restaurada,
sem mim




----------------------

WITHOUT

Kalahari Elephant Fox, waiting for another
life and a half because I didn’t stay in L.A.
and didn’t marry Carole Schwin, Lena (Horne)
and Kathy (Hepburn), lost contact with Bill
Blatty and Brian Avery and escaped from my
nights always full of something else, although
I’m still speaking Spanish and feel at home with
my hispanic buddies, maybe Venice, California
should have been my place, an old house totally
fixed up
without me.




3.


OLHAR


Primeiro olhar, são seductoras selvagens,
vinte, vinte-cinco, títulos em economia
comercial ou médicas, pathologicas,
especialistas na cibernética...voce sabe,
o cabelo animalesco mas bem ciudado,
as pernas, os tornozelos de marmore feitas
carne, mãos que me procuram como um
urso branco que procura lobinhos marinhos,
mais uma olhada e são centro vinte mais,
ainda caras, corpos, espiritos murmurando
“Agora, mais ninguem só voce.”



-------------------------------


TO LOOK

The first look, they’re savage seductresses,
twenty, twenty-five, degrees in commercial
economy or doctors, patholgists, specialists
in cybernetics...you know, animal hair but
very carefully taken care of, the legs, marble
ankles turned into flesh, hands that reach out
for me like a white bear grabbing walruses,
another look and there’s a hundred and twenty
more, still faces, bodies, spirits whispering
“Now, no one but you.”




4.

VOCE PRIMEIRO

“Voce é primeiro na linha!,” no aeroporto em
São Paulo, uma cara trabalhdora, cinquenta ou
um pouco mais, “Cabelo branco.” Não quero
aceitar, mas viajando doze horas de Michigan ao
Brasil aceito e uma vez que estamos sentados em
nossos lugares (5a e 5b) ela acaricia o meu cabelo
e vai atraz de nossas poltronas, mais realmente nunca
desparece





--------------------------------------------



YOU FIRST

“You’re the first in line,” in the airport in São Paulo,
a working girl’s face, fifty or a little more, “White
hair,” which I don’t want toiaccept, but travelling twelve
hours from Michigan to Brazil I accept and once we’re
seated in our seats (5a and 5 b) she caresses my hair
and goes back behind our seats, but never really
disappears.




5.



O FILHO UNICO



O filho unico de repente com seis irmäs
e tres irmäos, chegando ao aeroporto,
Florianópolis com tudo mondo espirando, os
outros pasajeiros preguntando entre eles,
“Quem e está senhor...e sua esposa? JFK,
FDK, JC...não, não pode ser JC...de outro
planeta...,” as notícias matinais cheias de
mae de Jesus, Mesmo mesmo, sua presença
mesma...crendo é mesmo crendo, ele cria uma
criaçao nova do qual realidade emerge.


---------------------------


The only son suddenly with his six sisters
and three brothers, arriving at the airport,
with everyone waiting, the other passangers
asking among themselves, “Who is this guy...
and his wife? JFK, FDR, JC...no, no, it can’t
be JC...from another planet...,” the morning news
full of Jesus’ mother and Jesus himself,
his presence itself...believing is really believing,
he creates a new creation out of which emerges
reality itself.






6.




ESCUTANDO


Escutando o mundo definirse, apagando
todos os arqivos anciãos, nos corredores
de meu dogmatismo, cruzes e espadas, filhos
sem pais de carne, arvores de maças mágicas,
Deuses dizendo “Voces são meus,” o demais
da raça humana não conta,”

DOMINUS
NADA

só oso morros, os tetos de terra, as palmeiras
impossíveis, chuva impossivel que vem cinco
minutos e então desaparece, nada-zero volvendo
a ser tudo, volvndo a ser nada de novo.


-----------------------------

LISTENING

Listening to the world define itself, closing
all the ancient archives, the corridors of my
dogmas, crosses and swords, sons without flesh
fathers, trees with magic apples, Gods saying
“You are mine, the rest of the human race doesn’t
count, “

DOMINUS
NOTHING

only the hills, the dirt roofs, the impossiblke palms,
the impossible rain that comes for five minutes and
then disappears, nothing-zero rebecoming everything
and then becoming nothing again.





7.

DE NOVO

Començando de novo, escapar dos reis/
imperadores, matar os indigenas, acabar coim
os deuses da terra e ceu, trazer mais umas formas
erradas de Latim (ou Anglo-Saxon mixturado com
un Française Chauceriano), trazer os fantasmas
crucificados e mãe milagrosa sem namorado de
carne e sangue, sempre tres em um Deus, a catedral
no centro, o palacio do novo imperador, mercado
central, aqui os passarinhos de comercio ainda
voando de novo, barulho de construçao por
todos os lados, o centro espiritual TENHO UMO/
UMA PRECISOI MAS SEMPRE MAIS.

------------------------------


AGAIN

Beginning again, escaping from the kings/
emperors, killing the indigenous peoples,
finishing with the gods of earth and sky,
rebringing back some mistaken forms of
Latin (or Anglo-Saxon mixed with Chaucerian
French), bringing back the crucified ghosts,
a miraculous mother without a flesh and
blood lover, always three in one God, the
cathedral in the cente, the palace of the
new emperor, the central market, here
the commerce birds still flying again,
construction noise on all sides, the spiritual
center, I HAVE ONE/ONE PRECISE BUT
ALWAYS MORE.



8.



BETINHA

“Betinha, cobre as pernas, são tentações!,”
ela gostando da ideia de ser vinte de novo
em vez de setenta e cinco, especialmente com
o marido que ela tem, sempre falando, “Quanto
tempo vai durar a terra, tudo mundo esviaziando
a terra do petroleo e carvão, enquanto ainda
temos o sol, o sol como uma lampada que
não dura eternamente...temos almas eternas ou
esta tudo isto de ceu inventado, ceu cemiterio,
porque comer, respirar, trabalhar, nascer, dar luz
as crianças que vão terminar exactamente como
nós...quano tempo duram os ossos, quanto tempo
vamos ter arqueologos buscando os ossos escriturais
do passado antigo...o que são milhares/milhões
de anos aoi lado de sempre...e quanto tempo vair
durar o sempre...,” Betinha com olhos de urubu, o
corpo de MM 50 anos atras.


-----------------------------

BETINHA

“Betinha,cover the legs, they’re temptations!,”
her lving the idea of being twenty again instead
of seventy-five, especially with her husband always
saying “How long will the earth last, everyone
emptying the earth of its petroleum and coal, while
we still have the sun, the sun like a lamp that doesn’t
last forever...we have eternal souls, or is all this stuff
about heaven invented, cemetery heaven, why eat,
breathe, work, be born, give birth to children that
are going to end up exactly like us...how long do
bones last, how long are we going to have
archaeologists looking for the scriptural bones of
the antique past...what are thousands/millions of
years next to forever...and how long is forever
going to last...,” Betinha with the eyes of a black
vulture, the body of MM 50 years ago.




9.


DEPOIS

Depois de anos asexuais a primeira vez que a vejo
nua, oi corpo inteiro cheio de veias enormes, ela
parece cento vinte em vez de 64, mas não importa,
eu duzentos, já 92.4% morto, mas ambos ainda
temos Nutella, Nescafé, mamão, um banheiro, coca,
as caras dos netos/netas, as noticias sobre o ódio
voando atraves do mundo, em todos lugares menos
(vento, uns momentos de cuva, nossa Senhora de
Fátima acordando na televisão)
aqui.



----------------------


AFTER


After years of asexuality the first time I see her
nude, her entire body full of enormous veins,
she seems more like a hundred and twenty instead
of 64, but what’s the difference, I’m two hundred
already, 82.4% dead, but we both still have Nutella,
Nescafé, papaya, a bathroom, coca, the faces of
the grandsons and granddaughters, the news about
the hate flying across the world everywhere except
(wind, a few moments of rain, Our Lady of Fatima
waking up on the television)
here.




10.

IGUATEMI

Um senhor que não conhecemos aparece, nós
tomando cafe e casadinho (chocolate e leite
doce solido) em frente de Ponto Frio (lojia de
televisão) e Cavalira (ropa masculina fina, fina,
fina) ele para, “Tudo bem?,” “ Tudo bem,”
“Voce é...?,” “Jesus Criso,” olhando a suas
mãos, nada de cicatrizes, “Nada de cicarizes
nas mãos?,” “Tudo curado fazem milhares de
anos...e o tempo nas não conta!,” “E para nós?,”
a voz muda para mim todo o shopping “Meu
pai, eu e o meu irmão fizemos tudo, mais voces
melhoram tudo tanto , nunca vi tanto luxo, eu o
Jardim de Eden ao lado de seu mundo computorizado,
nem su, meu pai ou irmão fizemos nada tão
milagroso, e a comida daqui e, possivilene, é
tempo de casar-me com uma mulher dessas com
pernas de espadas, tetas devacas, olhos de buracos
pretos entre as estrelas...començar não de novo mas
tudo construido sobre a realidade daqui...,” de
repente nos manda um beijo e desaparece, um
momento na tela da televisão (Sansung) na janela
de Ponto Frio
e


A Deus





11.
IGUATEMI

A man who we don’t know appears, we’re
having coffee and casadinhos (chocolate with
solid sweet milk), in front of Ponto Frio (a
TV store) and Cavalira (fine, fine, fine men’s
clothes), he stops “Everything OK? “Everything
OK,” “You are?” “Jesus Christ,” looking at his
hands, no scars, “No scars on the hands?,” “everything
healed thousands of years ago...and time doesn’t
count for me!,” “And for us?,” “The mute voice
fills the whole mall, “My father, me and my brother
created everything, but you people improved everything
so much, I never saw such luxury, me and the Garden
of Eden next to your computerized world, neither I
or my father or my phantom brother ever made anything
so miraculous, and the food here, I’m going to
reincarnate myself in order to eat the sweets here, and
its positively time to marry a woman with those sword
legs, cow breasts, eyes of black holes among the stars...
begin again but everything based on the reality here..,”
and suddenly he throws us a kiss and disappears, a
moment on the TV screen (Sansung) in the window
of Ponto Frio

and

God bye





12.

AMAR

Amar as caras na televisão, os computadores,
drogas, onibuses, as igrejas, aviões, carros,
as jóias, os orgasmos, cafe, cerveja, os tambores
e guitarras, cantando-gritando, os radios a noite
toda, o dia todo, o céu combustivel-electrico,
os morros, o mar, todos as florestas já invisíveis,
inaudíveis.




TO LOVE

To love the faces on the TV, computers, drugs,
buses, the churches, planes, cars, jewelry, orgasms,
coffee, beer, drums and guitars, singing-screaming,
radios all night long, the whole day, the electric-
furnace sky, the hills, the sea, all the forests already
invisible, inaudible....




13.

PROCURAR

Gritar-cantar
Policia lutando contra as drogas
O êxtase sexual
As drogas mesmas
Pistolas & Motocicletas

-------------------------------


TO GET

Scream-sing
Cops fighting against drugs
Sexual ecstasy
The drugs themselves
Guns and motorcycles



-------------------------------------------------------------------------
------------------------------------


EVITAR

O silêncio
Passarinhos
A solidão --a natureza natural
Furtos de veículos
Unindo-se com o divino amanhecer

-----------------------------
TO AVOID

Silence
Birds
Solitude -- natural nature
Car thefts
Merging into the divine dawn






14.


OS DOIS DEUSES LUTANDO

O quase silencio total de Cheia de Graça, o Espirito
Santo, uma neblina que quase anula tudo
e si mesmo, o filho agora voando atraves
universos inteiros meditando “Devo começar
tudo de novo” versus “Os leões divinos carnivalescos
samba-rugindo,devorando ttodas as plantas/sementes
divinas andinas que abrem as portas do universo
rugindo, contraçao versus expansão, quem
ganha aqui, os centros nucleares de terminar tudo
amanhã...”




---------------------

THE TWO GODS FIGHTING

The almost total silence of Full of Grace, the Holy
Spirit, a mist that almost wipes out everything and
himself, the son now flying across entire universes
thinking “Must I begin everything again” versus
“The divine carnival lions samba-bellowing,
devouring all the divine Andean plants and seeds
that open the doors of the bellowing universe itself,
contraction versus expansion, who wins here, the
nuclear centers terminating everything tomorrow.”


Copyright © Hugh  Fox 2010