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Writings reflect life s issues
Poet recalls childhood influences
By John A. Skretta
Staff Reporter
Poet Stanley Plumly has said that
he has become his own parent by
being able to arrange time. He dis
played the art of rearranging time and
reordering experience through a se
lection of his poetry, read to a crowd
Monday night in the Nebraska Un
ion’s Regency Suite.
Plumly, the author of several vol
umes of verse spanning twenty years,
read “mostly new poems.”
He began with “The Art of Po
etry,” which proposes that the poet
offers “no apologies/no explanations,”
but merely has the desire and will
power to get it down right the first
time.
Much of Plumly’s poeiry is influ
enced by his youth experiences in the
Ohio fanning region. Most of his earlier
poetry evokes the father-son relation
ship as a consistent metaphor in the
poet’s struggle to interpret life and
death.
Plumly also read about his mother.
Or, more specifically, about his
mother’s feet.
“She (my mother) grew up in the
Depression, and the standing meta
-44 --;
Attempts to make something whole of disparate
and difficult parts of my experience.
Stanley Plumly, on why he writes poetry
phor. . . was her shoes, and the fact
that she could never find a pair to fit
her,” he said. “Her feet looked like
part of the animal kingdom.”
Plumly’s childhood fascination with
his mother’s cramped feet gave rise
to “My Mother’s Feet,” a poem that
relates the pam of the mother to the
child’s need to find security and warmth
in the mother.
Plumly said that as he’s aged, he’s
become more interested in the anima
tion of inanimate objects. His poem,
“One-Legged Wooden Red-Wing,”
explored that. The poem was inspired
by a woodcarving of a blackbird given
to him and develops a metaphorical
relationship between the “always alone,
always... male display” of the whittled
blackbird to the whittling hobby of
Ulysses Grant and Grant’s ability to
compose written orders in the heal of
battle and shower of death.
w w
Similarly, “Reading With The
Poets,” was inspired by a visit to a
memorial Civil War cemetery and
the history of the cemetery. The poem
moves quickly beyond a dry histori
cal account, however, into a proposal
of the poet as a healer, or rather,
would-be healer.
Plumly’s poetry is infused with a
humanistic spirituality and a brood
ing philosophy that refuses to turn
away from the finality ot death.
“Lazarus at Dawn” is inspired by
Plumly’s Quaker upbringing and spiri
tual probing.
“As one gets older,” he said, “one
doesn’texactly ‘get religion,’ but one
begins to realize that the body is a
vessel. What for, however, is an open
question, and whether that vessel is
going in any direction or is merely
moving on a treadmill is a compli
cated philosophical issue.”
Lazarus at uawn sj.»c<ir.s uk.
longing for death and the tension and
unity between father and son, and
suggests that “the sickness of the heart
is invisible, incurable, endless.”
“I made an assignment to myself,”
Plumly said, “that the day I turned
fifty, I was going to do virtually the
most clich6d thing possible, write a
poem marking the occasion... sort of
a narcissistic self-valentine, if you
will, with the understanding that it
probably wouldn’t amount to any
thing.”
Plumly said he was satisfied with
the results of the poetic exploration of
his birthday, which again calls the
father-son relationship into play.
Plumly’s final acknowledgment was
that “I am the animal touched on the
forehead/charmed.”
Plumly has stated that he views his
poems as “attempts to make some
thing whole of the disparate and diffi
cult parts of my experience.” Plumly’s
poetry does indeed forge a beautiful
unity between the seemingly remote
aspects of life and death, father and
son, earth and water.
Plumly currently directs the crea
tive writing program at the Univer
sity of Maryland.
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■
Art
Continued from Page 9
The call from CBS was a
surprise to Marxhausen, who had
sent the network a demo tape live
years ago. But Marxhausen said he
has always been a person who
“pushes buttons” and makes things
happen.
During World War II,
Marxhausen, who was stationed in
the Philippines, sold pieces of
Japanese airplane wings made into
jewelry to fellow soldiers.
“While everyone else was
getting drunk, I was making
money,” he said.
Marxhausen said his creative
abilities can be traced back to his
boyhood days in Minnesota.
At the age of 69, Marxhausen
still spends his days creating. He
produces, packages and mails his
art without the help of any appren
tices.
Incoming mail also sparks the
artist’s attention. Since Marxhausen
does not advertise, his only promo
tion is by word-of-mouth.
Marxhausen said he receives
many letters from admirers of his
art, including relatives of AIDS
patients, elderly people in rest
homes and others with serious
illnesses.
Marxhausen hopes now that his
art can help people suffering from
another kind of illness — chemical
addiction.
He currently is experimenting
with detoxification centers to find
out what effect his sound sculptures
have on drug addicts.
Marxhausen said he first wanted
to duplicate the high that drug users
experience, but now his objective is
to give people energy and make
them feel good without drugs.
Marxhausen said other forms of
sound art cannot be experienced in
the same way his can.
Other forms include electronics
and “hanging junk from the
ceiling,” he said.
Three pieces of Marxhausen’s art
I can be found in the Sheldon
Memorial Art Gallery Art Shop.
Star Dust sells for S95, Cosmic
Cubes for $500 and Parachimes for
S325.
Sheldon assemblage exhibit
composed of humble objects
From Staff Reports
An art exhibit composed of frames,
wire, door knobs and nails is now on
display at the Sheldon Memorial Art
Gallery.
“Findings: Assemblages By Fu
miyo Kaneko” is the fourth exhibit in
Sheldon’s ongoing Solo series.
Kaneko’s an invites viewers to see
the everyday world with a new appre
ciation for humble objects, said Daphne
Deeds, Sheldon curator and assistant
director.
Traditionally, assemblages were
used to make political and philosophi
cal statements. Deeds said tnat his
torically, this art form is associated
with other forms such as Dada, Surre
alism and funk sculpture. Assemblage
now is more familiar and more easily
understood. In the 80 years since as
semblages first emerged, it has evolved
into a means of expressing life, Deeds
said.
Kancko, an American raised in
Japan, has a studio located in down
town Omaha where she Finds most of
her materials.
The exhibit began February 26 and
continues through May 12 at the gal
lery, located at 12th and R streets.
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