{"id":568,"date":"2006-07-29T01:04:00","date_gmt":"2006-07-29T08:04:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=568"},"modified":"2006-07-29T01:04:00","modified_gmt":"2006-07-29T08:04:00","slug":"compatible_poems","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/07\/compatible_poems\/","title":{"rendered":"Compatible Poems"},"content":{"rendered":"

Slow Drag Dead
\nhallelulia
\nfour black Cadillac
\nhigh black hearse
\nand all
\nthe people come
\nto hear the trom
\nbone bawl
\nlook at Slow
\nDrag picture on
\nthe Wall
\nHe call again
\nSweet Emma come
\nBig Jim come when He call
\nthen honkie play
\nand honkie plunk
\nin Preservation
\nHall
\n–Miller Williams, “Alcide Pavageau,” from The Only World There Is<\/a><\/em><\/p><\/blockquote>\n

That note you hold, narrowing and rising, shakes
\nLike New Orleans reflected on the water,
\nAnd in all ears appropriate falsehood wakes,
\nBuilding for some a legendary Quarter
\nOf balconies, flower-baskets and quadrilles,
\nEveryone making love and going shares–
\nOh, play that thing! Mute glorious Storyvilles
\nOthers may license, grouping around their chairs
\nSporting-house girls like circus tigers (priced
\nFar above rubies) to pretend their fads,
\nWhile scholars manqu\u00c3\u00a9s nod around unnoticed
\nWrapped up in personnels like old plaids.
\nOn me your voice falls as they say love should,
\nLike an enormous yes. My Crescent City
\nIs where your speech alone is understood,
\nAnd greeted as the natural noise of good,
\nScattering long-haired grief and scored pity.
\n–Philip Larkin, “For Sidney Bechet,” from The Whitsun Weddings<\/a><\/em><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Slow Drag Dead hallelulia four black Cadillac high black hearse and all the people come to hear the trom bone bawl look at Slow Drag picture on the Wall He call again Sweet Emma come Big Jim come when He call then honkie play and honkie plunk in Preservation Hall –Miller Williams, “Alcide Pavageau,” from […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-568","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/568","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=568"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/568\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=568"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=568"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=568"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}