Richard Hugo is one of a number of Montana poets and writers who came from somewhere else and settled in Montana as an adult. Unlike Thomas McGuane, for example, who is from Michigan and so is a Midwesterner ultimately in outlook and perspective, Hugo came from Washington State. Hence Hugo is a quintessential Westerner. His is always a Western ear and a Western eye.
Many of Hugo’s best poems are rooted in nature as you would expect. Today’s poem, “Degrees of Gray in Phillipsburg,” though, is a much different kind of poem altogether… darker and nearer to the heart and bone.
In “Degrees of Gray in Phillipsburg” we see the descriptive power that Hugo uses so well in his best nature poems turned in a different direction. It is a direction that is simultaneously inward toward the depression and loneliness that marked his life, and outward toward a “passionately dispassionate” look at a small broken-down town.
Hugo was no Romanticist. Being from the West he could see from the inside a broken down Western town for what it really was. He felt as well as saw the pain, the brokenness, the loneliness and the beauty that was small town Montana.
Tired of Midwestern winter, I find Richard Hugo a door home… a familiarity that mitigates, for awhile anyway, the uneasiness of exile… the overwhelming sense of restlessness. Hugo is a Montana Poet through and through.
Degrees of Gray in Phillipsburg
You might come here Sunday on a whim.
Say your life broke down. The last good kiss
you had was years ago. You walk these streets
laid out by the insane, past hotels
that didn’t last, bars that did, the tortured try
of local drivers to accelerate their lives.
Only churches are kept up. The jail
turned 70 this year. The only prisoner
is always in, not knowing what he’s done.
The principal supporting business now
is rage. Hatred of the various grays
the mountain sends, hatred of the mill,
The Silver Bill repeal, the best liked girls
who leave each year for Butte. One good
restaurant and bars can’t wipe the boredom out.
The 1907 boom, eight going silver mines,
a dance floor built on springs–
all memory resolves itself in gaze,
in panoramic green you know the cattle eat
or two stacks high above the town,
two dead kilns, the huge mill in collapse
for fifty years that won’t fall finally down.
Isn’t this your life? That ancient kiss
still burning out your eyes? Isn’t this defeat
so accurate, the church bell simply seems
a pure announcement: ring and no one comes?
Don’t empty houses ring? Are magnesium
and scorn sufficient to support a town,
not just Philipsburg, but towns
of towering blondes, good jazz and booze
the world will never let you have
until the town you came from dies inside?
Say no to yourself. The old man, twenty
when the jail was built, still laughs
although his lips collapse. Someday soon,
he says, I’ll go to sleep and not wake up.
You tell him no. You’re talking to yourself.
The car that brought you here still runs.
The money you buy lunch with,
no matter where it’s mined, is silver
and the girl who serves your food
is slender and her red hair lights the wall.