David Wilde

Recomended for a Pushcart Award for his poem The Train on the Santa Fe Railrunner published in A Cafe in Space

http://rmoa.unm.edu/docviewer.php?docId=nmu1995-06-25.xml#hit1

Lawrence Ferlinghetti: "you are quite mad or a genius in the wild" Postcard 1993

Pupil of Alfred Cursue (4th Horn with Dennis Brain) Kneller Hall 1964-1965.
http://www.youtube.com/watch?v=LgnDgIqFhyY&list=FL5TmCkPWrH-EZjBBPv5q_pg

(Professor and Emeritus Fellow, Loughborough University, UK-1973-1980)

Currently: Contemporary New Mexico Biographer, Writing Tutor, Mss. Prep, English Editing/International Correspondence/ESL/ 1984 to date 2008

Archives
http://rmoa.unm.edu/docviewer.php?docId=nmu1995-06-25.xml#hit1

Publisher: 1989
(j'écris des séries)
search?q=wilde+david+1944&x=33&y=17

Reviewer:

The Life and Times of Commander E.C. "Zeke," Cortez, Jr., USNR by David Wilde. Albuquerque: Wilde Publishing, 1998. 187 pp., appendices, photographs, map. Historians have dedicated many a weighty tome to the Spanish colonial past of New Mexico and such towering figures as Juan de Onate and Diego de Vargas. Studies of the lives of twentieth-century Hispanic New Mexicans, however, are very few on the ground. Into this breach David Wilde, an Independent Scholar in the University of New Mexico since 1984 has launched himself with this narrative of the life of Commander EC Zeke Cortez. There is an interesting local New Mexico connection: Cortez spent some of his youth in Las Cruces. His mother wrote a column for the Las Cruces Sun during the years of the Second World War. After attending Midshipman School in 1942, Cortez served with distinction in the Mediterranean and in the invasion of the European mainland. In the late 1960s he became responsible for recruitment for Naval and Marine Reserves for the state of New Mexico. He logged twenty-eight years of service to the Navy before retiring in 1970. Wilde points out that his subject was not a famous man. This, then, is at some level the story of a typical, successful native New Mexican. Like so many such persons, Cortez's roots in the land are long, tracing his ancestors to their arrival in New Mexico in the late seventeenth century. Still, this slim volume is something else again. By his own count, author Wilde has written over 30 published books about New Mexico and about his world travels. This book is replete with unexpected literary allusions, snatches of poetry, flights of whimsy, and lyricism. It is also clearly and unmistakably about a friendship between an author and his subject. All this is packed in under a hundred pages. The remainder of the volume is devoted to a series of appendices, most representing the writing of Cortez himself, and to a collection of photographs. To say this book makes an interesting read is a bit of an understatement. Professor Rick Hendricks, PhD, Las Cruces. (Dr. Hendricks is Editor for the Southern New Mexico Historical Review. Rick Hendricks, Colonial Latin American Historian, Author, and Lecturer. Historian John L. Kessell, professor emeritus of history at the University of New Mexico, has devoted nearly two decades compiling, translating, and editing the Vargas papers along with Rick Hendricks, Meredith D. Dodge, and Larry D. Miller. Rick Hendricks is an historical consultant to the Rio Grande Historical Collections at New Mexico State University. He is also the author of The Navajos in 1705 and was an editor of the six-volume Vargas Project (both UNM Press). Meredith D. Dodge, an independent historian, has devoted nearly two decades compiling, translating, and editing the Vargas papers along with John Kessell, Rick Hendricks, and Larry D. Miller.

TABLE OF CONTENTS
Preface: Narrative Description
Acknowledgments

Introduction
Chapter 1
The ‘Scottish’ connection and Tian-am-men Square
Chapter 2
WWII New Mexico 90 Day Wonders, LST 74, “Action Stations.”
Chapter 3
The Belen Yacht Club and the ‘Westerner’.
Chapter 4
Operation Blue Jay. George Washington University Law School. France.
Chapter 5
Chinese year of the Snake
Chapter 6
Valencia County Register, Director of Training of Eleventh Naval District Headquarters, ‘Scuttlebutt’.
Chapter 7
Fall of Bataan, Tankas, “Many a friend Who is incarcerated Ages visibly. Summer is passing by” Keiho Soga

Chapter 8
Lawrence Ferlinghetti (c) 1955, Dunkirk, D-Day, Cold War.
Chapter 9
Hong Kong and a Typhoon, USS Okanogan, Senator Dennis Chavez, ‘Brown shoe’ on the deck of a ‘Black shoe’ ship.
Chapter 10
‘SECNAV’, JAG, BUPERS (1953-1957), Captains and Admirals
Chapter 11
Westerner nightclub, Doris Duke, American West, Celtic Hogmanay, Scottish New Year
Chapter 12
Eleventh Naval District, Operation Plan Diagonal Bravo, Inshore Undersea Warfare, San Diego, Los Angeles and Port Hueneme Harbors, General War Plan.
Chapter 13
President Lyndon Johnson, Selection Board, Retention Board, Commanding Officer of the Naval and Marine Reserves Training Center in Albuquerque.

Bibliography

Index of general terms

Glossary of Naval terms

Notes

Appendix A
Appendix B
Appendix C
Appendix D
Appendix E
Appendix F
Appendix G

alt.press
Wilde World
David Wilde's One Day in April
By Kane S. Latranz



To the extent that this "romantic reflection on Old Route 66" concerns itself with a storyline, it involves a writer from Wales walking along Central Avenue when he happens across a motorist and "fellow expatriate," a young girl from Surrey, England, of all places. To be honest, at first I felt uncertain whether I would read all of One Day in April, but something about it was hypnotic and addictive. My initial problem was that this book does not concern itself terribly with a plot, or with much in the way of playing different characters off each other; I cannot recall chancing across one set of quotation marks in the entire thing. It is, to be sure, a nonlinear, ruminative, fanciful speculation about the human condition and New Mexico, about writing and surviving, from the perspective of a stranger in a strange land. While at first I felt somewhat aggravated with it, feeling its approach was undisciplined, with all due respect, I could say the same about writers like William S. Burroughs.

It all broke through for me when, business being slow with the cab company I work for, I decided to park at Tingley Beach. The first thrill of blessed autumn in the air, I enjoyed some relief from the searing Albuquerque sun under a thick ceiling of clouds. As I became engrossed in Wilde's description of winter, which seemed to blur the qualities of that season in New Mexico with winter in his homeland in the United Kingdom, there was, synchronistically enough, a burst of rain like some sign from a merciful God. (The air conditioning in the cab I drive isn't the best, which can make for some long summers!)
Then I remembered how New Mexico had seemed when I first arrived here in the same year as Mr. Wilde himself, 1983. Back before basic survival had seemed to be such an issue, when I was more idealistic and spent so much of my time in the Bosque by the river, concerned, as only the young, and David Wilde, seem to properly be able to be, with a romantic and fanciful appreciation for poetry and some belief in magic, in the wilderness and the "voice of the land itself."

There were a few things that detracted from this book for me, but, to Mr. Wilde's credit, I enjoyed it nonetheless. He reminded me of what it is about New Mexico that draws so many here. Those intangible qualities, like One Day in April itself, cannot be precisely encapsulated by the many artists who lend themselves to that very purpose. But at its best, as poetry, this book comes very close to that ultimately unattainable thing. And now if you'll excuse me, I need to spend some time by the river.

Available at /Barnes & Noble

(Manifesto)

In the past there have been many exiled and banished peoples wandering or seeking for some lost or untranslatable purpose or goal. In the desert southwest of New Mexico (some call the northern part of Central or South America) this exile also applies. In the Desert the isolation brings with it the danger of madness and insanity, or inspiration. Art is now a way to channel visions of Hell into the small window of opportunity the genius uses as his or her canvas in this setting. Art is! My journey into art is conditional on an uncle’s work in museums in England and Australia, as well as the WEA in London during the 1930s. It was at about this juncture that George Orwell (Erik Blair) was staying at the institution but whether my uncle and GO ever crossed paths I am not aware. Incorporating art into the narrative via my book cover jackets was a whim that became an obsession and then a passion. Isolation and panoramic views, the physical landscape of geologically historical visual presence and altitude give the cues that enhance or reflect, imitate like a monster mirror, the reptilian brain of our ancestors. Spark the sense of violence and calm underlying the everyday existence in this ancient elevated seascape of arid seabed life.

By importing and incorporating into the narrative a visual cue the task of making coherent the moods and unique pastoral shades, ambiguities of shadow and light verify what is in the book or point to what may be found within its hidden pages. The Idyll! For example the dark portrait of Black Innocence on the cover is by Peter Pabisch which I use to give the impression of poor working class, Blue Collar, miner-like credentials perhaps reminiscent of Zola. On the other hand a religiously ambiguous (pastoral church steeple) cover on One Day in April belies a more subtle yet even existential flow in the narrative of lyrical Magical Realism (betraying the Irish Lullaby in the subtitle). The first of these titles is by Ida Gunderson who’s portrait of the author wants to express a traveled middle age man relaxing, or reposing might better explain the posture of the seated figure. A sketch which elaborates and at the same time and moment gives the philosophical mood to the written word. The book is a set of glimpses and is the author’s first attempt at composition by peeking out at the landscape and the voices of the New World Her portrait sets the tone and casualness of the reader and the read. The exile’s diary in The Sun Also Sets also uses Patrick Policastros’ image of a setting sun in the desert southwest. The whole image on the cover is surrounded by a halo of lace-like patterns gleaned at random from An Old Captivity, by Neville Shute. This added a North or Scandinavian frill to the ‘diary’. Progressively I discovered new and interesting ways in which to ‘frame’ my work using the found and donated objects of friends and colleagues, distilling from them more meaningful visual dialogue. I mean that enhancing the outside revealed the inside of each given work. Teabags From England is a typical ploy or manipulated weapon in the game of transparency. It consists in poetry about the Southwest region of New Mexico yet harks back to an old (pre-exiled) previous life in Europe and often mentions teacups, teabags, tea-mania in its textual representations as well as coal mines and musical themes one of which mentions oil rigs in the North Sea. The art used is an oil painting by James Slawson (my uncle Jim) and is of a still life including a Blue Wedgewood teapot with cups and saucers sitting on a kitchen table in front of a greenish wall where an old fashioned gas mantel exudes a 1930-ish warm domestic scene. The jacket cover changes the direction and hue of the scene into a Blue aristocratic celebration of new ideas associated with New World ideals, seated in the most southern and romantic setting of the desert southwest. The temptation is to make ‘book art’ instead of literary speculations. The reader or observer must decide which it is by confronting their own anxieties and being decisive about what they perceive. Is it art or is it a book? This paranoia is a vital part or aspect of what I wish to convey and intergrate into my work, by extemporizing the mixed emotions found in exile, using both hot and cold, familiar and unfamiliar, rational and irrational tenses in the visible and unconsciously precise world outside of our human control. Madness or insanity prevail over certainty.
David Wilde, New Mexico, June 2004

Other previously published works by David Wilde include the following, listed by time, place and publication and also whether print or electronic form (URL).

1) The Sprit That Wants Me: Anthology of New Mexico Authors, 1991 Albuquerque, N.M. Duff, 1991

2) Conceptions Southwest Magazine, University New Mexico: extract from One Day in April: An Irish Lullaby (A Novel) Volume 19, Number 2, Fall 1996.

3) La Puerta: Doorway into the Academy: Freshman English textbook (contributor). Kendall Hunt Publishing Company, First Edition 1997/1998/1999

4) Poetry: Academic Exchange Extra: electronic online magazine, August/September 2003:

students/AE-Extra/2003/7/Right-1.html
students/AE-Extra/2003/8/Right-1.html

5) Article on Hurricane Katrina: 'A Disaster Relief Volunteers Perspective'
students/AE-Extra/2008/2/indxmain.html/ Academic Exchange Extra: electronic online magazine. March 2008

6) REPRIEVED: Poetry/Jazz CD, with music by Joe McCanna. BMW Records 2007

7) Forthcoming Poetry (in translation) online electronic magazine, July, 2008/ decirdelagua

Reborn on April 13 2005

PARIS INTERNATIONAL POETRY CONTEST: UNIVERSITY X NANTERE EXHIBITION

Other previously published works by David Wilde include the following, listed by time, place and publication and also whether print or electronic form (URL).

1) The Sprit That Wants Me: Anthology of New Mexico Authors, 1991 Albuquerque, N.M. Duff, 1991

2) Conceptions Southwest Magazine, University New Mexico: extract from One Day in April: An Irish Lullaby (A Novel) Volume 19, Number 2, Fall 1996.

3) La Puerta: Doorway into the Academy: Freshman English textbook (contributor). Kendall Hunt Publishing Company, First Edition 1997/1998/1999

4) Poetry: Academic Exchange Extra: electronic online magazine, August/September 2003:


students/AE-Extra/2003/7/Right-1.html
students/AE-Extra/2003/8/Right-1.html

5) REPRIEVED: Poetry/Jazz CD, with music by Joe McCanna. BMW Records 2007

6) Article on Hurricane Katrina: 'A Disaster Relief Volunteers Perspective'
students/AE-Extra/2008/2/indxmain.html/ Academic Exchange Extra: electronic online magazine. March 2008

7) Forthcoming Poetry: : electronic online magazine, July, 2008

8) David Wilde Books
search?q=wilde+david+1944&x=33&y=17

la vie en rose

l’accordéon sombre parle
en cherchant, cherche un sens
ayant la nostalgie des voix scintillantes
écoutant de l’enfance
un écho de distinction
ce son abominable
de graves conséquences dans
un souvenir de l’égarement déchiré
par la guerre
inscrit en musique,
soulagé par la conscience
revécu en vivant à rebours
dans une extase d’images
flottant dans une cacaphonie
nuageuse, victoire de l’esprit sur
la matière, la prestidigitation
accordée comme des perles colorées
sur un fil, l’ivoire déclamé,
dentelé, un carillon d’intention
crenellé
et ne mentionnons pas
les ponts traversés ou
livrés à un paris
les soirs pluvieux de septembre
un sonnet cadencé; élevant sa
voix à une promesse lumineuse
peut-être au printemps sombre.


la vie en rose

the dark accordion speaks
in seeking, seeks a meaning
nostalgic for voices glittering
listening from childhood
an echo of distinction
that abominable sound
of grave consequences in
a memory of war-torn
asunder musically rendered,
relieved by conscience
relived by living backwards
in an ecstasy of images
floating in a clouded
cacophony of mind over
matter, prestidigitation
chorded like colored beads
on a string, ivory intoned
indented, a crenellated
peal of intention
and let us not mention
the bridges crossed or
surrendered to a paris on
rainy september evenings
a lilting sonnet, lifting its
voice to bright promise
perhaps to dark spring
9/25/07

Our final feature, “Hurricane Katrina: A Disaster Relief Volunteer’s Perspective”, is authored by David Wilde who states: “This was written as a response to questions by colleagues at the University of New Mexico as well as in response to questions by friends as to the state of New Orleans in post Katrina times. [I also wanted] to clarify and to crystallize my own thoughts as to the meaning and purpose of this very human tragic yet natural disaster. I may have achieved this clarity of thought but larger questions remain as to the dangerously slow response of the government to a vulnerable community.”

Chuck McCoy
posted 3/14/07 @ 12:45 PM MST
As a fellow worker in the disaster relief effort in New Orleans I feel David has captured the exhaustion, frustration and helplessness experienced by most of us involved there. However, he only mentions the cleanup or "gutting out" portion of the work taking place. He was also involved in rebuilding several houses and constructing new houses. His efforts as he worked with Crossroads Missions are greatly appreciated by the CR Staff and the people who are now living in those houses.
Please encourage the "Wilde One" to use his writing talents to share more of his experiences with your readers.
Chuck McCoy, a volunteer with

The March 2008 issue of Academic Exchange Extra (AEE) has been uploaded.

students/AE-Extra/2008/2/indxmain.html

Thank you for your continued interest and contribution to AEE. We are always looking for material of interest to the creative and academic world, so please keep us in mind for further contributions and encourage others to submit as well.

Elizabeth K. Haller
Editor-in-Chief
Academic Exchange Extra (AEE)

POESÍA DE LA FRONTERA / Segunda parte, Julio de 2008 -

David Wilde es originario de Malvern, una comunidad minera en el sur del País de Gales. Desde 1984 ha sido investigador independiente con base en la Universidad de Nuevo México, en Albuquerque. Ha escrito sobre temas tan diversos como la historia del suroeste y las biografías de varios personajes locales. Entre sus poemarios se destacan Teabags from England, Leaves of Flame, Tent Poems, Rain Poems y, en 2007, Obras Incompletas: Pictures from Nowhere. Reside en Albuquerque

Estos poemas de David Wilde fueron traducidos por Héctor Contreras López.

ÉXTASIS

El éxtasis es como volar un papalote
o como religiosos e intensos sentimientos de alegría
pero por qué buscamos tan lejos cuando la
alegría está aquí dentro… Esta visión epiléptica, esta
sonrisa orgiástica, este verdadero reconocimiento
del fuego, de la belleza, del cariño, todo es para ti.
Es la verdad del gozo escondido, la razón
más probable para estar vivos, para caminar y hablar
por el sendero de un Jardín Paradisíaco, pero no del Edén,
porque este no es ni el principio ni el fin
del mundo, esta es la vía media;
sin importancia pero real, como las lágrimas de sangre,
como los miedos que son consumidos por el silencio,
por el hecho de verte, la belleza, lo genuino
que nombramos dicha extática sisea y escupe el
dulce rocío, no un venal, venenoso destilado de aquella
otra emoción, la secuencia para algo desconocido
que agoniza. Esta banca, en el altar de tu santuario,
el Oráculo de Delfos, el Oráculo Galés, extendiéndose
a lo largo de las millas que nos separan, la epistemología
no puede describir una distancia tan amplia y angosta al mismo tiempo
como los Estrechos de este oasis de sentimiento, esta banca
de deseo ecléctico, esta colección de metáforas
para suavizar lo que con frecuencia se olvida, pero nunca tú.
10:15 AM 3/7/96 Oxford, UK

REPRIEVED: Poetry/Jazz CD, with music by Joe McCanna. BMW Records 2007

1) Placitas 0:48
2) 0:06
3) Rain Poems 2:23
4) Gary Browers 0:46
5) Gone World 0:37 Rain Poems
6) Chamber Music 0:28 Teabags From England
7) Rain Poems 2:31
8) Tent Poems 0:51
9) Palava Hill 0:49 Moravian Blues
10) Pastoral 0:59 Moravian Blues
11) Dusky Moravian Maiden 1:11 Moravian Blues
12) Dawn/Breclav 0:36 Moravian Blues
13) Van Goh.BNL 0:54 Moravian Blues
14) Moravian Blues /Esther’s b’day ? 0:41 tent poems
15) Aryn 0:42 tent poems
16) Kerry Kazokas 0:34 tent poems
17) Terry 0:43 tent poems
18) Laura the Mathematician 0:49 tent poems
19) Filbog Dreams 1:31 tent poems
20) Laura Ariana Chavez 1:27 tent poems
21) Kendra 0:44 tent poems
22) Orange Dress 2:05 tent poems
23) (28) North Sea Saga 2:43
24) Music 1:12 Teabags from England
25) Eli 1:42 Teabags From England
26) Silence 0:27 Teabags From England
27) En la Cocina 1:00 Teabags From England
28) Money 0:23 Teabags From England
29) The play is on 0:40 Teabags From England
30) The boys 0:14 Teabags .From England
31) Watching 0:25 Teabags From England
32) 0:24
33) Summer Is Here 00:07 Teabags From England
34) Green Chile Heart 4:28
35) 0:14
36) Kafka’s Gate 2:56
37) Snails 0:38
38) Big Band 2:07