by Eric Bies

There I sat (or stood (or, who knows, hovered )), trying to read Osip Mandelstam…
(…not, to be sure, the early Stone poems; not the later Poems poems; not the Egyptian Stamp, not even the essay on Dante, but his final literary effort: cobbled together from the vantage of that characteristically Soviet brand of exile-cum-vacation, about 500 klicks south of Moscow), in this case, the Andrew Davis translation of the Voronezh Notebooks.
As I sat, etc., and perused the table of contents, I noticed that the book contained—in addition to its eighty-nine numbered poems and introduction—an index of first lines.
I remembered the first time I’d noticed such an index. The memory of the encounter was fresh enough—not quite far enough back to not resound so readily with the powerful shame of my nervousness in the company of poems. I remembered how, once, attempting to temper this skittishness, I’d picked out a couple of battered volumes of Auden and Coleridge, friendly clothbound entries into the Everyman’s Library Pocket Poets Series that are with me still. Now as then they remain neat, tidy, approachable: they were, for a reader who’d made the frosty acquaintance of Eliot and Pound, poetry on training wheels. And instrumentally, at the back of them, one could and still can make alphabetical reference to each poem by the words with which it starts. So, too, I remember noticing this then: that that Auden began with “A cloudless night like this” and ended up “Wrapped in a yielding air, beside.”
Later, but not too much later, I took notice (if not any interest in the real utility) of similar indices appended as yet more backmatter to yet other editions of bound selections, collections, and completions of the poetry that continued to unman me. Read more »

Numerology can easily result from free association and, given its assertions, it certainly seems like it has been. In any case, I thought I’d try my hand at it.


In 1995, I made two Christmas mixtapes that I labeled A Very Mary Christmas. I had recently gone through a period of wondering whether it made sense to go on celebrating Christmas, given that I’d stopped believing in the Christian story years earlier. In particular, I’d thought about whether I wanted to go on listening to Christmas music—especially the old traditional carols I love, many of which have explicitly religious lyrics. In the end, I decided that there were other good reasons to celebrate the time around the winter solstice. I made the mixtapes in a spirit of enjoying winter and celebrating both the darkness and the light to be found in family and friends. I kept some of the traditional carols (some only in instrumental versions) and religious music—Handel’s Messiah, for example. In addition, I included music that’s not traditionally considered Christmas music or even winter music; hence the now mildly embarrassing substitution of Mary for Merry.



When people take to the street to protest this is often supposed to be a sign of democracy in action. People who believe that their concerns about the climate change, Covid lockdowns, racism and so on are not being adequately addressed by the political system make a public display of how many of them care a lot about it so that we are all forced to hear about their complaint and our government is put under pressure to address it.

Loriel Beltran. P.S.W. 2007-2017 


