Category Archives: Biography

An Anniversary Affirmation

Thursday, January 10, 2019

My parents got married in Los Angeles on this day, 1945. Both of them were enlisted in the U.S. Navy “for the duration.” World War II was over within nine months, but they did not spend any time together until 1946. The delay involves a fairly dramatic story, but that is something to be addressed in another genre.

Yesterday, I went down to UC San Diego to visit the Special Collections Department of its library. During my intermittent visits to the campus since attaining my Ph.D. in 2004, I noticed a steady increase in new buildings, but the pace of construction seems to have quadrupled almost overnight. UCSD was regarded as a primary economic engine in San Diego County at the end of the last century. Given the expansion’s goal of accommodating yet more students, UCSD may well become of the leading employers in Southern California.

The Archive for New Poetry continues to be a resource for scholars, and my hope is that I will be able to place my literary archive there, alongside my editorial archive. Many of the Los Angeles poets whose work I have admired and anthologized have their archives there: Paul Vangelisti, Leland Hickman, Dennis Phillips, Harry Northup, Holly Prado, and Bob Crosson. Doug Messerli most certainly would have been in “POETRY LOVES POETRY,” but he arrived in town just as the book was being published. Other poets or editors who have archives there include Donald Allen, Ron Silliman, Clayton Eshleman, and Paul Blackburn.

One of the things I asked about is whether my mother’s handwritten memoir of her life could be included as a document in my archive, as a contextual account of the childhood and youth that led to my undertaking of a literary life. It was agreed that that could be included, and I cannot think of a better way to commemorate this wedding anniversary than to have this knowledge. My mother, still alive, does not remember having written this memoir, though she still recognizes me, at least.

The “Serious Problem” of Literary Gossip

Sunday, January 6, 2019

I recently learned that “gossip” — as in the phrase “to be a gossip” — was first inserted into the language by William Shakespeare. No doubt he suffered from its aggravating noise while he was alive, perhaps largely due to his felicitous adaptations of other’s writings; his use of “sources” has certainly contributed to the contemporary conversation (aka, “literary criticism”) about his “originality.”

“Literary,” according to Marjorie Garber, was not a word used to describe the causes and effects of authorial endeavors until the mid-18th century. Shakespeare would not have attributed the mendacity of another writer to the jealousy of a marginal literary figure. My commentary on “marginal” appears in HOLDOUTS: The Los Angeles Poetry Renaissance 1948-1992 (University of Iowa Press, 2011).

https://www.theguardian.com/books/2018/feb/09/shakespeare-plagiarism-software-george-north

Of course, there are also writers who are at least partially responsible for the circulation of gossip about their lives. Edward Gorey, whose 500 page biography by Mark Dory, BORN TO BE POSTHUMOUS: The Eccentric Life and Mysterious Genius of Edward Gorey, received a four page lead review in the New York Times Book Review today, made his sexual preferences more than sufficiently alluring to gossips by pitching his tent in an ambiguous binary: “I realize that homosexuality is a serious problem for anyone who is, but then, of course, heterosexuality is a serious problem for anyone who is, too. And being a man is a serious problem and being a woman is, too. Lots of things are problems” (NYTBR, p. 14, January 6, 2019).

An Improvised Dictionary (forthcoming)

gossip — noun.

1) discourse wearing a see-through gown or form-fitting lingerie;
2) a story that reciprocates our personal fears in such a soothing manner that one enjoys hearing it again, and again, as if for the first time;
3) Saturn’s network of hidden microphones to record the conversations of her four moons.

POEM CONCERNING THE “POSTHUMOUS”

You’d be surprised
at how much
the universe gossips,
but not about us.
Not about us, at all.

In the meantime, one can catch up on the latest “gossip” about the universe at earthsky.org.

Listen as Saturn and its moon interact

“Lawrence IN Arabia”: A Centenary Backwards Gaze

Wednesday, August 22, 2018

I have a stack of books of poetry I will soon begin listing and making some comments on, but first I want to encourage anyone concerned with the ongoing conflicts at the eastern rim of the Mediterranean Sea to read Lawrence in Arabia, the subtitle of which proves to be the thematic summary of the Ottoman Empire’s dissolution. Although this year marks the centenary of the final year of World War I, I have been struck by how little commentary seems to mark this juncture. World War I apparently has as little presence in the lives of present-day American citizens as the Napoleonic Wars. Anderson’s subtitle, “War, Deceit, Imperial Folly and the Making of the Modern East,” instructs us to reconsider our indifference. The consequences of World War I, after all, are more turbulent than ever. The decision of President Trump’s administration, for instance, to move the American embassy in Israel from Tel Aviv to Jerusalem is a choice made possible because of the cast of characters who epitomize the drama of Anderson’s scintillating, extraordinarily acute, and easy to follow narrative.

The primary advantage of Anderson’s book in examining the historical origins of the current multi-national crisis in the Middle East is that people other than T.E. Lawrence are as equally vivid as the book’s titular, best known protagonist. I have a hunch that this book’s capacious point of view was the inspiring triggering point in the dinner conversation with his editor Bill Thomas that Anderson mentions in his acknowledgements. As one reads about the lives of the Zionist agronomist Aaron Aaronsohn, a German spy named Curt Prufer, and the American agent for Standard Oil, William Yale, in Lawrence in Arabia, one begins to comprehend the ground-level simultaneity of global economic and political determinations with local aspirations for identity with land and its layers of ritual knowledge and daily enactments. Anderson’s book is an archeology of a volcanic eruption in the modern ear of human civilizations; our imaginations have faltered in the past in coming to terms with that epic event. With wit and precise detail, Anderson makes it all seem as if it were being told for the first time. Even those who believe they are familiar with this particular front of “imperial folly” will finish this book with a renewed ambivalence about whose claims to self-rule have any substantial legitimacy outside of self-interest.

From a rooftop on Martin Luther King, Jr. Blvd. — July 4

July 6, 2018

I worked as a fiction writing teacher at Idyllwild arts for twenty consecutive summers, starting in the mid-1990s. Several of my students went on to become published writers, including Sara Wintz and Julia Glassman. During the first fifteen or so years, during which I built the fiction writing class up from one session per summer to three sessions each summer, the first introduction to the students always took place on the first Sunday after the July 4th weekend. Then, with the shift to an earlier start of school years, the students gathered at the top of the mountain on the first Sunday before the July 4th celebration.

In my professional as well as personal life, Idyllwild is a significant part of the commitments I have made in my life. I cannot look at the July page of the calendar on my kitchen wall without thinking of that cycle of packing to leave and unpacking on my return, which always took more than a single day. The past couple years have brought me a new ritual: Linda and I gather on the third story rooftop of Rod and Tamiko’s home on Martin Luther King Boulevard, and we watch the fireworks jettison their transient glow on a scythe-swath perimeter of Los Angeles County. Other friends, including Olivier Bochettaz, join in. Olivier and Pauline had a child six months ago, and Luna is an exceptionally beautiful baby.

Rod J-4 one

Bochettaz Salute One

Bochettaz Salute Two

Bochettaz Salutre - Three

Rod J-4 two

Rod J-4 three

Rod J-4 four

Burt Monro: “The World’s Fastest Indian” (Motorcycle)

Friday, March 2, 2018

“A miracle that all this speed waits in a lever for the pleasure of my hand.” — T.E. Lawrence, The Mint

It’s been quite a while since we’ve had any measurable amount of rain in Long Beach and I am grateful to be able to spend the morning at home, listening to its subtle rhythms. Last night, I took a little time off to watch “The World’s Fastest Indian,” which is a bio-pic about a land-speed enthusiast from New Zealand who set a record at Bonneville Salt Flats in the 1960s on his highly modified Indian motorcycle. Even though the film starred Anthony Hopkins as the film’s affable, eccentric hero, Burt Monroe, I had never heard of this particular film until now. As I watching it, I kept wondering how I had missed it. It certainly is not the case that the subject matter has never interested me. Though I have little time to devote to the subject now, I was intrigued by mechanical speed when I was young. I went out to the Ontario Speed Way, which has long since been demolished, back in the early 1970s, and saw the first instance in which a car did four consecutive laps at an average speed of 200 miles per hour. Even looking across the track, I could tell that that car was propelling itself faster than any other vehicle that day.

It turned out that the film had been first released in 2005, and its first showing in the U.S. was in February, 2006. I was rather busy at that point, teaching several classes at St. John’s University in Queens as well as teaching at Nassau Community College. In addition, I was on the cusp of being interviewed for the job I currently have at CSULB. No wonder this film pass unnoticed by someone who would have loved to have seen it on a big screen.

I suppose one could grouse about the nonchalant privileging of white male power. It is not fault of the character the film is based on that the motorcycle he mobilizes to honor “the gods of speed” is named in a flippant appropriation of indigenous people, but one wonders whether a Native American named Jake truly represents an encounter that happened in Monro’s sojourns in the United States.

On the whole, though, this tale of individual determination has many masterful touches. An unusual degree of empathy for the story must have inspired the casting agents. No matter how brief the parts, the entire cast of the film contributes to a mosaic of affirmation.

I was grateful, too, that Rupert had deigned to return to stay with us for the evening.

Austin Straus: In His Youth (the recollection of a close friend)

Tuesday, November 14, 2017

Austin Straus: In His Youth (the recollection of a close friend)

A little over a month ago, a letter showed up in my mailbox at school. I didn’t recognize the name in the return corner of the envelope, but I don’t get that many letters with my name and work address written by hand, so I was curious enough to open it immediately. The author of the letter turned out to be a childhood friend of the late poet, Austin Straus, who wrote me a second letter with some additional information about Austin. The letter itself was handwritten, too, which was a pleasure to read.

October 9, 2017

Dear Professor Mohr,

Looking at the websites pertaining to the death of Austin Straus, I gather that not much is known about his life before he moved to Los Angeles. In light of his upcoming memorial service I have written down some of my memories of that part of his life.

Austin was born in the Brownsville section of Brooklyn in June 1939 (June 9, I think), a working class neighborhood of mainly East European Jewish immigrants and their children.

While he was in the early years of elementary school (about eight years old, or so) his parents bought a house in East Flatbush, a middle class neighborhood, and moved from Hopkinson Ave. to Albany Ave., across the street from where I lived, my parents having made the same move a few years earlier. From then until his early twenties, Austin lived in that house together with his parents, Roz and Fred (only after moving to San Diego upon retiring did he call himself Franklin, which, unbeknownst to us, was apparently his name all along), and his younger (by 2 years) brother, Dennis, with whom he shared a bedroom. The third bedroom was occupied by his grandmother. As she was not comfortable speaking English, Austin picked up a fair knowledge of Yiddish. There was also a family dog, Lucky, a tan cocker spaniel. All in all, a fairly typical upbringing.

Austin and I became very close friends (I was a year older), a friendship which lasted from elementary school through our teenage years into our early twenties. While attending Hebrew school, Austin was part of a group of us who were religiously observant.

His father worked on a U.S. mail train, which meant that he was away for several days and nights and then home for several days and nights. While home, he would often take Austin, Dennis and myself in the old family car to play ball in Prospect Park. Fred was an excellent athlete. In summer, we used to go swimming in Riis Park.

As teenagers, Austin, Lucky, and I would take long walks at night, often ending up in Brownsville, the neighborhood where we both were born. Brooklyn was still safe in those days. We often played handball together (pink ball). He was a good handball player and I remember vigorous games in the hot summer sun in Lincoln Terrace Park at the age of 20 or 21.

Austin started attending Brooklyn College but transferred to City College Downtown (now known as Baruch College) which was primarily a business school with the intention of majoring in accounting. I suspected this idea came from his parents. Needless to say, it was not a good fit and Austin changed his major to psychology (or possibly philosophy, not sure of this). After graduating, he pursued a Master’s degree in Philosophy at NYU.

It was about this time that Austin broke away from his conventional upbringing, choosing a bohemian (so-called at the time) lifestyle, moving into a tiny Greenwich Village apartment with a girlfriend. By this time, I was married and also attending graduate school to pursue an academic career. We saw each other less frequently. He had demonstrated talent as an artist while young but the first time I recall him being interested in poetry was when he read a poem of his to me when he was 24. My overall impression of Austin as we grew up was that he was intelligent, imaginative and sensitive, prone to enthusiasms over people and ideas, often followed by disappointments.

I do not know how he met Ann Moody, but he did come with her to visit my wife and myself in our Brooklyn apartment. Some years later, when the marriage was in difficulty, I saw her again when Austin asked me to use the van I was driving to remove his belongings from the apartment they shared in the Bronx. We were no longer in regular contact but I was called upon again to remove his things from the Upper West Side apartment of his second wife, Patrocina (?), a lovely young Panamanian woman to whom he was married only very briefly. Austin told that she expected a more conventional marriage and way of life.

Shortly thereafter he moved to California and our only direct contact was an occasional phone call. Indirectly, I heard about him through my mother, who kept in regular contact with Austin’s mother, Roz, then a widow living in San Diego. She told my mother that Austin phoned her every day. Since he never pursued a career as such, he had frequent financial difficulties. At the age of 55 he was desperately trying to get into the California educational system, apparently unsuccessfully. He told me he could not be considered for a full-time position at Los Angeles City College, where he taught English as an adjunct, because his master’s degree was in philosophy. It was only in his last phone call to me, about a month or so before his death, that I learned of the success of his one-of-a-kind art books.

Despite his illnesses, diabetes, and a previous bout with prostate cancer which he thought might be returning, he sounded very upbeat, saying that he was dating again, looking for the fourth Mrs. Straus. He had begun the conversation by saying that he thought he ought call me before one of us kicked the bucket. I don’t know whether he had a premonition of what was to come, but sadly, shortly thereafter, he died.

These are some of my memories of a very close friendship that lasted for over a decade and a half, and was less close thereafter. I shall, of course, try to answer any questions about the earlier part of Austin’s life that I am able to answer.

Sincerely yours,
Nathan Greenspan

October 30, 2017

Dear Bill,

A few more thoughts concerning Austin – Unlike most of his generation, myself included, born at the tail-end of the Great Depression, Austin did not seem overly concerned with earning a living. Unlike most of us, I do not recall him working during summer vacations. My wife, Vicki, had a summer job supervising a children’s playground at P.S. 235, the same public school Austin and I attended, which was very near his house. She went there during lunchtime to eat her brown bag lunch and chat with Roz Straus, Austin’s mother. One of her vivid memories is of Austin lying in a hammock in his backyard on one hot and sunny afternoon, and Roz calling out to him, “Austin, do you want your strawberries and sour cream now or later?”

Decades later, Austin phoned from California when I wasn’t home and spoke to Vicki (they knew each other well) for a long time, talking about his relationship with Wanda and other things going on in his life. She told me that all she said was “yes” or “um hum” every once in a while. At the end of the call Austin said to her excitedly, “You’re a great conversationalist!” We both had a good laugh over that. He was definitely more interested in talking about himself than in listening to others.

Austin and his two years younger brother Dennis were close growing up, sharing a bedroom as I mentioned in my previous letter. On one of his calls to me from California he mentioned that he and Dennis were not in contact with teach other. The break apparently came at Dennis’s initiative. He and his wife, Sheila Ascher-Straus, are published writers, describing themselves, I believe, as post-modernist.

…….Best regards,
Nate

(Nathan Greenspan)

Nathan Greenspan taught for about forty years full-time at Brooklyn College and Staten Island Community College, which later become the College of Staten Island. He also did some administrative work, serving as the political science coordinator for about a quarter-century.

The Austin Straus Memorial: “How’s it going, kid?”

Sunday, October 29, 2017

A week ago, in the midst of much personal travail, I drove up to Beyond Baroque to take part in the memorial service for Austin Straus, the late widower of Los Angeles poet Wanda Coleman. About 20 people attended, and I shared with them a letter that had been written to me by a friend of Austin’s who now lives in Oregon. I also cited some of the recollections of Austin’s childhood and youth that had been sent to me in a letter by Nathan Greenspan. Not wanting to speak longer than anyone else, I refrained from reading one of Austin’s poems, but did mention that if I had had time, I would have chosen Austin’s “The All Purpose Apology Poem.” It turned out that Laurel Ann Bogen had intended to read that poem, and she delivered a knock-out rendition. Michael C. Ford contributed an amusing account of poetic rivalry between Austin and Michael that played out based on the slight difference in their birth months in 1939. One of the most touching moments occurred when the relatives of Ann Moody got up to speak about Austin. Ann was one of the civil rights protestors who sat at the Woolworth’s lunch counter and refused to accept segregation. She was also Austin’s first wife and the mother of his only child, Sasha, who works as an artist.

With the permission of Richard Hammerschlag, I present his fond memories of Austin.

Remembrance of Austin Straus
Richard Hammerschlag
Portland, Oregon
October 19, 2017

“Birthday buddies” was Austin’s sweet term for us. Our friendship began with his knock on my door one evening in the mid-1980s, a Falstaff-like guy fundraising for Santa Monicans for Renters Rights. His request for demographic information to validate my donation led to the happy discovery that Austin and I were both born in 1939 on the very same June day in New York City. The friendship, borne of that chance encounter and longer-odds coincidence of birth, was maintained over thirty years, mainly by phone after I moved to Portland and he to Lancaster.

From a young age, our lives had traveled separate paths, his to the Arts, mine to Science, and we often talked about the economic inequalities resulting from the different manner that societal value is coupled to remuneration for the two professions. And yet, Austin and I were each fascinated by the types of challenges the other faced in living creative lives.

Our friendship was also enriched by a shared love of Borscht-belt humor, with Austin often recommending YouTube sites for me to re-live the hallowed stand-up routines of such stalwarts as Henny Youngman, Buddy Hackett, Mel Brooks and Lenny Bruce.

Austin and I, from our New York upbringing, also shared an abiding passion for the Dodgers. Never mind, as Austin wouldn’t let me forget, how Walter O’Malley snuck the team out of Brooklyn in the dead of night, and was a silent party to the city of Los Angeles’ removal of much of the populace of Chavez Ravine in a land acquisition to build Dodger Stadium. Somehow, our youthful inoculation of Dodger lore (highlighted by the storied beginnings of Jackie Robinson and Vin Scully) trumped the back room conniving of management.

Up to his passing in mid-July, Austin closely followed the exploits of this year’s amazing Dodger team. At this writing, in mid-October, it appears (I know you are smiling Austin) that this will be one of those ‘Next Years’ that Dodger fans are always waiting ‘til’.

So, here’s to you, Austin… multi-talented artist, and compassionate friend to so many of us. It was a great pleasure to know and hug you and Wanda. I know you’ll call me next June 12 and each June 12 after that.

Austin Straus Obituary — by Rev. Roscoe Barnes III

Friday, September 1, 2017

It’s a scorching afternoon in Long Beach, California, and the only relief from the heat has been the arrival of an e-mail from Reverend Roscoe Barnes III, who first wrote me about ten days ago and asked what I knew about the life of Austin Straus, a Los Angeles poet whose death I had taken note of in my blog. In particular, Rev. Barnes was curious about how much I knew about his life before he arrived in Los Angeles in the late 1970s.

“Not much,” I responded. “In fact, almost nothing at all.”

For those of you who share that response, I am pleased to post today the link to the first serious obituary of Austin Straus.

http://roscoereporting.blogspot.com/2017/09/poet-austin-straus-former-husband-of.html

My profound thanks to the Rev. Barnes.

First Read Playwrights, Then Poets

August 4, 2017

Instructions to Young Poets: First Read Playwrights, Then Poets

In going through a box of archival material the other day, I found a list of playwrights I had made several years ago. The list was not alphabetical, nor was it meant to be definitive. I believe I was giving a lecture on Sam Shepard’s True West in a course surveying 20th century American literature, and drew up the list to apprise a class of young English majors as to how many significant contemporary playwrights deserved more critical attention.

Theater is in a peculiar situation, especially in terms of playwrights. Trying to make a living as a playwright is like serving as a volunteer lifeguard at Death Valley. Over the years I have heard students comment about the difficulty of telling their parents that their main interest in life has become poetry. The students love to mimic the hysterical despair of their parents. “What did we do to deserve this?” I tell them that their parents should consider themselves lucky. “You could have told them that you wanted to be a playwright.”

I myself was first attracted mainly to playwrighting rather than poetry, and my preference in terms of a contemporary canon has not shifted over the years. If I don’t feel that I have much in common with most poets I meet, my admiration for playwrights is probably the heartbeat of that mutual repulsion.

If I have any recommendation for a young person who is interested in devoting decades to the art of poetry, then it would be to avoid reading contemporary poetry magazines and anthologies until one has read a total of 100 plays by an assortment of playwrights from the following list. It would amount to an average of two plays per playwright. My personal recommendation would be to start with Brian Friel’s “Translations.” Then, and only then, spend a few months reading poetry, after which they should stop and read another 100 plays, this time by the much shorter list of earlier 20th century playwrights. I would recommend starting with Sean O’Casey.

The key to reading these plays (and this is one of the things I learned at Padua Hills) is that one must imagine oneself on stage. If one is reading a play from the point of view of being in the audience, you will not absorb the importance of plasticity in your imagery, and you will never shake off the one-dimensional passivity that infects so much of contemporary poetry.

Edward Albee
John Arden
Doris Baizley
Amiri Baraka
Stephen Berkoff
Edward Bond
Ed Bullins
Caryl Churchill
Christopher Durang
Martin Epstein
Harvey Fierstein
Horton Foote
Irene Fornes
Brian Friel
Bruce Jay Friedman
John Guare
Walter Hadler
Susan Hansell
David Hare
David Henry Hwang
Arthur Kopit
Tony Kushner
Eduardo Machado
David Mamet
Leon Martell
Murray Mednick
Marsha Norman
Cherrie Moraga
Joe Orton
Rochelle Owens
Robert Patrick
David Rabe
Sarah Ruhl
Milcha Sanchez-Scott
Ntozake Shange
Sam Shepard
Neil Simon
Anna Deveare Smith
John Steppling
Tom Stoppard
David Storey
Megan Terry
Luis Valdez
Paula Vogel
Wendy Wasserstein
Peter Weiss
Lanford Wilson
August Wilson
Susan Yankowitz
Paul Zindel

Thomas Lux (1946 – 2017)

TOM LUX (December 10, 1946 – February 5, 2017)

Larry Goldstein was in town this past week, and we had lunch together at the Long Beach Museum of Art, where the upstairs gallery currently features some superb photographs of the Long Beach port. On our way to the museum, as I drove on Seventh Street, Larry mentioned that the Cortland Review was dedicating its next issue to the late Thomas Lux. I hadn’t heard that Tom had died, and I was as grateful for the slow traffic, as for the street’s familiarity. To have been told the same news on the 90 freeway last Friday night, as rain sliced down, might have had a different outcome, for the 90’s lane markers at night are very faint to begin with, and I struggled to detect exactly which lane I was traversing.

I first met Tom back in the early 1990s, when he was on a Southern California reading tour. He started at the Chateau Marmont on a weekend, headed over to Loyola Marymount at the start of the school week, and ended up at California State University Long Beach, by which time we ended up playing pool in the Student Union after his reading. I remember how surprised Tom was when I showed up at the second reading with a copy of Tarantulas on a Lifebuoy. He probably thought at that point that he had met everyone who had a copy of that early book. Not quite, I told him. Contrary to popular allegations from an individual he used to know in New York City, there were more than a handful of astute readers in Los Angeles.

Tom was a superb reader, and his poems fit perfectly into the Stand Up school that Charles Harper Webb was beginning to promote. Indeed, he unquestionably deserved his place in the second edition. He returned to the Los Angeles area in the late 1990s; along with Naomi Shihab Nye, he was the first poet-in-residence at the Idyllwild Poetry Festival. Idyllwild was the last place I saw him, in large part because my life as a scholar has diverted my creative energies outside of the contemporary poetry nexus. It was over a decade ago that we last wrote each other. His poems have been a constant presence in my teaching, though.

Thomas Lux radiated a multi-dimensional love of poetry that went beyond anything I have ever encountered in all but a few other people. If it seems that he is present now in my memory’s eye as a living presence, reciting lines of poetry by Hart Crane or Theodore Roethke to illustrate his point, then it is a measure of how much his invisible companionship has meant to me the past dozen years.

This sense of personal loss extends to Charles Harper Webb, one of my fellow poets at CSULB. I asked if he would be willing to contribute to this blog post about Tom Lux’s writing and presence in our lives and he immediately sent the following eulogy:

“I was beyond bummed to hear of the death of Tom Lux, one of the truly good guys in American poetry. Just last December, I sent him my new book of essays on poetry, and he promised to send me a copy of the collection of Bill Knott’s poems which he’d just finished editing. It never crossed my mind that I’d never see, or even e-mail him again. Since we lived on opposite sides of the country, I didn’t see him much; but he was my friend, and a world-class ally in the fight for clear, entertaining poetry. I love Tom’s poems. I wish I’d written them. Every virtue that I praise in my essays, his poetry exemplifies. Wit, passion, impropriety, brilliance of metaphor and conception—he gave it all to the world in clear, concise language that sounds like no one else. Because there was no one else like him. It’s our good fortune that, although his body’s gone, his voice still sings out of his books, loud and quirky, brave and clear.”

The Collected Poems of Tom Lux will be a book worth waiting for, and the second half of Charles’s assessment would be a spot on blurb for that book. In that kind of volume, it is a common practice to include an index of titles as well as first lines. I would recommend including an index of last lines, too, in that book as a way of giving young poets one more axis of inspiration. I have seen many determined and talented young poets emerging in the past twenty years, but few have the gift of Tom Lux’s quirky, encompassing, comic sense of poignant elucidation.

If I were to take part in a memorial reading, I would be hard pressed to choose which one of his poems to read. “Refrigerator, 1957” would probably be my choice, though given its popularity, someone else would probably have read it by the time I got to the podium. It is certainly one of the best poems to have first appeared in The New Yorker magazine.

https://www.poemhunter.com/best-poems/thomas-lux/refrigerator-1957/
https://www.poemhunter.com/best-poems/thomas-lux/refrigerator-1957/
http://www.newyorker.com/magazine/1997/07/28/refrigerator-1957
http://happopoemouse.blogspot.com/2013/11/number-326-thomas-lux-refrigerator-1957.html

And for a view of that poem “across the pond,” go to:
https://www.theguardian.com/books/2015/jan/16/selected-poems-1986-to-2012-thomas-lux-review

One of the better articles I’ve found on his poetry can be found at:
http://www.cerisepress.com/01/01/life-on-a-piecemeal-planet-god-particles-by-thomas-lux/view-all

https://www.pshares.org/issues/winter-1998-99/about-thomas-lux-profile
Issue 77 / Winter 1998-99 – Stuart Dischell
http://www.news.gatech.edu/2017/02/07/campus-atlanta-communities-mourn-loss-thomas-lux-director-poetrytech
https://www.theatlantic.com/notes/2017/02/thomas-lux-obituary/516354/
http://www.dailyo.in/voices/tom-lux-death-poet-poetry-eulogy-tribute-vijay-seshadri/story/1/15523.html