Cowpattyhammer.com consists of 12 years of discussions and essays composed and edited by the poet, Christopher Woodman. If this is your first visit you might want to start with ABOUT THE AUTHOR which includes how the site got it’s name.
If you click HERE instead you can visit Christopher Woodman’s personal pages on Homprang.com, the website of the Baan Hom Samunphrai School for Traditional Medicine in Chiang Mai, Thailand. That’s where he lives and works with the Director, his Herbal Medicine Doctor-wife, Homprang Chaleekanha.
That page also includes a NEW BIO which Christopher wrote for his 80th birthday.
This Complete Directory is an attempt to index the last 12 years of that life. With the exception of the Three Short Prefaces just below, each of the 29 Threads is a substantial essay followed by up to 50 ‘Comments,’ many of which are essays in themselves.
HOW TO NAVIGATE THE SITE
Over half the articles in the COWPATTY ARCHIVE are not listed in the Index on the left. To access this earlier material, you can enter the site with the URL: https://cowpattyhammer.wordpress.com.
You can then scroll back through the 70 odd Threads to the end. And of course you can read the ‘Comments’ after each article as well — that’s where you’ll find what’s really happening. (After any series of Comments you can click Return to get back to the top of the page and then scroll down to the next.)
After Post #29, “The Poet’s Severest Critic,” you have to click on “Older Entries” at the bottom of the page — and when you get to “Harriet Sees Nothing on Harriet” at the end of that section you will have to click on “Older Entries” again.
The very early parts of the site are also preserved in the Scarriet.com archives. This sister site is still edited by his old friend and companion-in-arms, the dazzling critic, literary historian, sports scholar, musician and indefatigable poet, Thomas Graves (aka ‘Monday Love,’ ‘Tom West’ and still ‘Tom Brady’).
AN ANNOTATED INDEX, 2011-2024
You can click on the highlighted TITLES
below to view the full Articles.
THREE SHORT PREFACES.
a.) On the Origins of FIG LEAF SUTRAS.
Fig Leaf Sutras: A Memoir in Poems, 1990-2020, is a very different book from my earlier books, La-Croix-Ma-Fille and Galileo’s Secret. It’s a Memoir, and embraces in reverse order the whole range of my styles and interests from my most recent metaphysical riffs & glosses on Chiang Mai back to my very first dot-matrix mutterings in Brooklyn before there was poetry at all. The heart of the book contains some of my most unaffected “pure poetry,” and at the very end there are what I still feel are three lyric triumphs over both art and adversity. In so far as the book has a theme, it’s my own trajectory as a poet with the last tracks first, dignifying as they do the mountains of compost that still nourish me from way back before there was even a start.
b.) On getting ready for GALILEO’S SECRET.
A blessing on those young Forest Row students who assumed I knew the “secret of life” but which, like Denise Levertov herself, I’m afraid, I’d already forgotten by then. That was way back in the 70s, and indeed I didn’t get around to my own book of poetry until 30 years later mainly because I kept losing touch with whatever it was I was supposed to know. And then there was the South East Asian ‘Hill-Tribe’ expatriate linguist and drifter I picked up incoherent on the streets of Chiang Mai, and goodness knows what he meant, or why I kept the interview with him secret for so long [it’s attached!]. And of course there was Galileo Galilei himself who suffered such profound dislocations in his inner life, ones which I came to understand better after suffering a breakdown of my own one summer while living close by his villa in Florence. And that other physicist too, also famous but much younger — he suffered his dislocations in the body, not mind, while I was in Cambridge as well dealing with my brother’s broken back. And finally the small Australian Aborigine Elder listening so attentively with his brilliant young grand-daughter beside him — not to understand anything at all, just to share companionship for a few blesséd moments, not a vision or a voice but a flicker of recognition, a settling, an exhalation. A moment of simple-minded reflection, a moment just to be there, not to decide which road to take, or what things to weigh, or whether there are secrets of life to believe in, God forbid, what is more to remember.
c.) Gilding the Pieces: LA-CROIX-MA-FILLE.
It started out short — but such ‘rewriting’ can also create relics, and if such relics are fertile like fantasies and crystals they grow, sometimes exponentially. Like this statement for example: “I have very few friends who read poetry, and even fewer who read the poetry I write. This is partly because at two very important junctures in my life I parted with poetry altogether, and as a poet I have no past.”
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TWENTY-THREE SUMMARIES:
THE MAIN THREADS, 2011-23.
I. “GALILEO’S SECRET:” (4 Threads, 2018-22).
1.) FOR THOSE LIKE GALILEO (February 6, 2020).
This is a detailed attempt to cast light on some of the complex graphics, images, and metaphors in Part II of GALILEO’S SECRET, and includes the title phrase which appears for the first and only time in the book in a light-hearted poem called “Celestial Observations.” The much more difficult title-poem of the thread, on the other hand, “For Those Like Galileo Who No Longer Read,” is from Part III and is accompanied by one of the strongest graphics in the whole 10 years of Cowpattyhammer — in fact the image appears twice in the blog, and you always have to Click more than once to see them fully as on this little b/w index photo right here. This theme is developed in the 26 ‘Essais’ in the Comments that follow including in the two discussions of Breugel’s “The Fall of Icarus” as well as in the intimate encounters with, among others, the Strangler Fig, the Wizard of Oz, Sonya & Leo Tolstoy at home, and the Archimandrite Seraphim Bit Haribi chanting The Lord’s Prayer in Aramaic. It’s a curious thread, bizarre even, and there’s a strong feeling of more to come — no thread is ever really “over” on Cowpattyhammer, and you can leave a “Reply” to start up the discussion again anywhere you like. (26 Comments)
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2.) IN PRAISE OF THE STILL UNWEIGHED: Off the Record at 80
……(Nov 25, 2019)
A long and passionate self-examination culminating in a detailed exploration of the moods and modes of the 9 short poems that make up Part I of GALILEO’S SECRET. There are 50 substantial ‘Essais’ written over a 4 1/2 month period, and I don’t think my personal development or my values have ever been more effectively explored. It’s about Hope, really, the small bird that we all know as “that thing with feathers,” and, needless to say, Emily Dickinson is the hero of the whole thread alone up there in her bedroom — closely followed by the visionary mentor/muddler, Sir Stanley Spencer. Here he is pushing his pram through his beloved Cookham’s lanes, for him as exotic as any Shangri-la or Chiang Mai haunted jungle. (50 Comments)….
3.) NOT ‘HAT;’ WHAT’S UNDER THE HAT ON THE ROCK. (May 29, 2018)
An attempt to get under the poet’s hat for a moment to see what he means by a “hunch.” As he very rarely uses theological, psychological, or philosophical discourse separate from metaphor, this is probably the best that can be done at an intellectual formulation of his modus operandi. The little poem, “Daedalus Brief,” steals the show, particularly if you click your way through the discussions of it in the related comments in other threads, and of course take it seriously.
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II. “LA-CROIX-MA-FILLE:” (5 Threads, 2017-18).
4.) LA-CROIX-MA-FILLE (March 21, 2018)
An introduction to the final ‘illuminated’ version of LA-CROIX-MA-FILLE which highlights the distinction between those poems which are written by a personal hand and those which have lived long enough on their own to become self-generating ‘Relics:’
….— like a ‘hex’ or ‘ruin’ at the site of a betrayal or massacre, the title represents not something that once ‘happened’ but is happening all the time like an icon, a mantra, a prayer or a spell;
….— like the “Notes on the First and Last Poems” at the very end of the book, the thread sets the whole scene in the present without compromising any of the original intentions or participants. The same is true of the “Hexes, Ruins, Riddles and Relics” of the subtitle — there’s too much ‘danger’ in such mysteries to risk more in the details;
….— like the final illuminated haiku in the book, everyone who has been through such things must “stoop to grace the water’s fall” whether it be to ‘take a knee’ or ‘a bow’ — or, as the 16th Century poet, Sir Thomas Wyatt, acknowledges when he uses the Anglo-Norman word ‘danger,’ to place a ‘neck on the block;’
….“So it is that LA-CROIX-MA-FILLE takes its place in the same perilous tradition as “Sir Gawain and the Green Knight,” “They Flee From Me That Sometime Did Me Seek,” and “La Belle Dame Sans Merci.” And with reference to the latter in particular, the old Middle-English word ‘daunger‘ is French while at the same time as English as the fleurs de sel on your table, or the coup de grâce at hers.” (You’ll find the original of this Here.) (7 Comments).
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5.) for FRANZ WRIGHT: “dark, then bright, so bright.”
…..(December 7, 2017)
This thread is a Coda to the preceding thread and puts Franz Wright in the context of “He Reflects on What His Genius Means,” the opening poem of LA-CROIX-MA-FILLE. If you have the time it might be better to read thread #7 first as of course it precedes it chronologically. This one, “For Franz Wright,” introduces the theme of creative anger with the opening ‘Relic’ poem of the book (it’s “thought to be Samson’s,” after all, “found amongst the ruins”), and then takes the opportunity to tell the story of Franz Wright’s life (March 18th, 1953 to May 14th, 2015) in some detail. The mood is indeed almost hagiographic — and what a paradox, like Raskolnikov, or indeed anything out of Dostoievski. The thread is addressed to my Latvian friend, Jūlija Lebedeva, who was in the process of ‘illuminating’ the book at this very time, and whose contribution has so deepened it. [ * Sculpture: “Head with Windshield Shards” by Delia Woodman. Be sure to CLICK on all the graphic tabs at least twice as many of them expand.]
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6.) WHY IT’S MORE IMPORTANT FOR A WRITER TO SLEEP WELL THAN
……BE READ, OR ALMOST (December 2, 2017)
Despite it’s contemplative graphic, this very long thread is constructed like a whole hornet’s nest of Russian dolls — a paradox indeed! In fact, the thread straddles 6 years of debate about the poet Franz Wright’s bizarre intervention in a much earlier thread which culminated in his calling Christopher Woodman’s poem, “Leonardo Amongst Women,” “perfectly awful.” This event occurred just before Christopher’s Blog:Cowpattyhammer went off in one direction and Thomas Brady’s Blog:Scarriet in another, a painful break which changed both of them. An important plus in the thread is the way it illustrates both the creativity and the negativity that underlay the original Blog:Scarriet experiment, a paradox which was also at the very heart of Franz Wright’s genius — he was one of the most quarrelsome, ornery poets who has ever lived with the hugest heart and almost flawless broken voice. Its a very rich thread indeed, I think — one of my favorites. So please do give it some time and celebrate with me ‘Franz Wright, the most valuable of companion-poets on the loneliest of roads.’ (He too published almost nothing before he was 50, and was dead by 63 — which is perhaps easier than being still alive at 80…). (Annotated Appendix with 56 Comments.)
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7.) “O FOOL OF EARTH!” A Haiku by Samson illuminated by Julija with
……Caravaggio, T.E.Lawrence & an encore by our Christy himself.
. (Nov 21, 2017)
This is a bravura thread built around a single illuminated Haiku, one of Jūlija’s earliest sketches for LA-CROIX-MA-FILLE — at the time still subtitled A Book of Poems & Relics. The conceit is that “O Fool of Earth” is one of the artifacts that has been “found amongst the ruins,” not “written,” and is therefore, like the other “Relics” in the book, formatted in Lucida Blackletter with capitalized nouns and red illuminations. In addition, the two towering “pillars” of the drama, the Prophet Samson over here and Lawrence of Arabia over there, are displayed in the genius light of Caravaggio’s mannerist heroes, and are at the same time admired and ridiculed as “Fools of Earth.” Those are the words of “our Christy” from J.M.Synge’s The Playboy of the Western World which introduce ‘Pillars on the Beach,’ Part I of the book. “It’s a passionate, over-the-top thread,” Christopher says, “an apotheosis of shame combined with valor, and it still makes my heart miss a beat as well as beat a bit faster. And to tell you the truth, I don’t really know the difference — ‘Been there, done that’ is all anybody can say!”
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8.) ON HOW I MAKE SENSE OF IT: the poet deconstructs somebody
…..else’s Haiku. (November 17, 2017)
A deconstruction of the last Haiku in LA-CROIX-MA-FILLE, this reading combines close metrical analysis with New- as well as Post- Critical observations left over from Christopher Woodman’s years at Columbia, Yale and Cambridge. But even more importantly, the critique relives in detail how the little poem found its true form over a period of 30 years, and has now settled down as one of the most important ‘Relics’ in the book, gilded and framed. “It never changes yet never stays still,” the author says. “For me it embodies all the richnesses of a ‘Hex,’ a ‘Ruin,’ and a ‘Riddle’ combined, and has everything I look for in a ‘Relic.’ And it just never stops giving.”
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III. “ON WHAT I CAN SAY:” (5 Threads, 2015-17).
9.) ON WHAT I CAN SAY: deconstructing the spirits’ beguiling
……but awful mess… (October 31, 2017)
In this section of the Index there is a big shift of focus from Christopher Woodman’s books to the mysterious world around him in Chiang Mai. This thread describes a visit to one of his favorite Wats (Temples) on the ancient pilgrim trail through the jungle on the way up Doi Suthep, the Holy Mountain that hangs over the city, indeed one of the most revered Shrines in Thailand. There are many strange and exotic surprises in the thread both about what is “spiritual” about the place as well as about what is taught in such a fey, chaotic environment. Indeed, you have to click yet again on everything to see it all like the seductive little Nang Ram dancer behind the chicken in the bushes, and there’s a great deal more like that buried in the thread itself. The very end includes what the author feels is probably the best thing he’s ever written about the Buddha story — which, he says, is also about what a writer learns from such an experience and, more likely than not, has simply got to unlearn. Because this thread is about reading and writing poetry too.
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10.) ON WHAT WE’RE NOT ALLOWED TO SAY: deconstructing
…….iindiscretions,……(October 7, 2017)
Unlearning also means learning not to ask too many questions but to remain in uncertainty as John Keats suggested and so eloquently bore witness to both in his brief, febrile life and forever in his poetry. “For you can never stop on such a road,” it says in this thread, “it’s that steep and narrow, indeed, any attempt to turn round and head back is curtains. Why, even just pausing to catch your breath can trigger an avalanche!” So the “indiscretions” are multiple, both my own and those of other unfortunates, and clicking through them will take you to some places as strange as any Wat-Pha-Lad-type reliquary junk-pile. (2 Comments)
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11.) WHY I WROTE HOW BAD IS THE DEVIL (March 20, 2016)
This is the thread I most often touch back to, and if you’ve been following me recently will recognize you’ve been here before: for my brother Tony, for Galileo’s daughter; for why I make it all up, how relics rewrite, why Immanuel Kant, Emily Dickinson, G.F.Handel, and Winslow Homer, and the Canal de Bourgogne quite specifically. Here’s a graphic followed by a short excerpt you may well remember:…..“And that’s how bad the Devil is, not knowing your place in the grown-up world, not just lying down and being quiet like the big dog Sam. Being soft in the head like being Eve in God’s grown-up Garden, like not only rejecting Heaven but being in cahoots with the Devil in a serious effort to rewrite Paradise. ‘Unless we become as Rogues we cannot enter the Kingdom of Heaven,’ Emily Dickinson wrote to a friend at age 50, and I’d say courage like that coupled with a delicate body and a diamond mind is heroic!”
…..“Which is why I write as well, as if my desk were underground in Lascaux — as if the hunt depended on my depiction of the beauty and grace of the animals as well as my reverence for them. And even the sun rising.” (57 Comments)
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12.) HOW BAD IS THE DEVIL? (December 14, 2015)
Not for the faint-hearted, this is a long, no-holds-barred examination of the power of women. From the very start it assumes that it was the genius of Eve to eat the apple, not her foolishness, that it was the booby Adam who was overwhelmed by the adolescent desire to eat both her and the apple, both at once! And that profound truth is uttered everyday in the Catholic Mass as we hear the male Priest intone, “O blesséd fault, O sacred sin of Adam!” — a message which the priest like the man first learned from Eve, of course. Because there can be no freedom without disobedience, no redemption without trangression — that’s all metaphor, of course, not dogma what is more, God forbid, religion! Because just as he is depicted in the Medieval ‘Mystery Plays,’ Adam is always the clown-act that men have been reenacting ever since they got expelled for following Eve out of Eden. Even as the most sensible of all philosophers did, because it was Aristotle himself who got ridden by the beautiful Phyllis, the Consort of Alexander the Great, don’t forget, and the great existentialist philosopher too, Peter Abelard, who got carried away by Helöise, his best, most brilliant and at the same time most faithful student — all that’s from the very first Comment in the thread, and it deepens and deepens from there. A confection of genius dysfunction, yet precisely what makes the well-lived life truly worth living!
……The question is not, “is the Devil bad?” but rather how bad is the Devil if he can deliver to humanity the gifts of consciousness, free-will, and the ability not just to be perfect but to experiment even beyond that, even perhaps to eat apples! And then the opportunity to say sorry from the heart and out of the chrysalis fly! (70 Comments)
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13.) SAVAGE BEAUTY: (do I dare? do I dare?) (January 13, 2015)
A short but extravagantly illustrated thread: “the hidden waterfall,” entered through the jungle on the other side of the Holy Mountain; “Merlin collared,” or how to get cornered at home plus a black magic adventure with an intrepid friend from the Tetons, Brian Hayden. And always the very big question: “do I dare? do I dare?” — the words of the failed poet whose success is writing on anyway and then arriving at a whole riff on Orhan Pamuk’s My Name is Red, a great novelist’s greatest novel and at the same time a great treatise on refinement and passion in Turco/Persian culture and miniaturist art which seems to say, We’re here! An autobiographical thread full of passionate photos and poems with a lot of help from my friends including Omino 23, a rapper from the Turks and Caicos Islands who turned out to be Bill Kammann’s diver-son, and Paddy Linehan, of course, the great old-soul writer from Ireland. A gathering thread, startled and started but never quite finished. (22 Comments)