Many of the poems that have survived the longest are very short.

Some of them are a couple of thousand years old. They have somehow managed to perfectly catch life in just a few words and we can still feel those long-ago lives within them.

Glenna Luschei, who lives in California, tells us a great deal about comfort in this exemplary poem. Her latest book of poetry is Leaving It All Behind, (Presa Press, 2011).

Home

Dog at my pillow.
Dog at my feet.
My own toothbrush.

American Life in Poetry is made possible by The Poetry Foundation ( www.poetryfoundation.org ), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright 2014 by Glenna Luschei, “Home.” Poem reprinted by permission of Glenna Luschei. Introduction copyright 2015 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. They do not accept unsolicited manuscripts.

LAKEPORT, Calif. – Appearing at the Soper Reese Theatre on Saturday, June 13, is the nationally recognized group, Occidental Gypsy, well known as capable heirs and nouveau pioneers of the music of Django Reinhardt.

The group will take the stage at 7 p.m. to play a dynamic mix of original vocal and instrumental pieces, most notably a “gypsyfied” take of Michael Jackson’s Thriller.

All seats are reserved. Tickets are $20, $18 and $15.

Deftly blending gypsy swing, jazz and world music, the group features Eli Bishop, a Nashville prodigy who recently won First Place in the Mississippi Fiddle Championships and regularly stuns crowds with his lightning-fast, passionate violin.

Lead guitarist and composer Brett Feldman drives the sound with a masterful gypsy swing guitar.

Jeremy Frantz, a protégé of legendary jazz guitarist Joe Negri, brings his sultry, retro vocals and expert jazz guitar to the front line, and serves as an exquisite counterpoint to the down-and-dirty driving sound brought by Brett.

Guatemalan percussionist Erick “Banny” Cifuentes and bassist Jeff Feldman fill out the band’s rich sound to keep feet stomping and people dancing.

These energetic and charming entertainers interact with fans on a personal level and incorporate audience participation into every show.

Tickets are on sale at www.soperreesetheatre.com ; at the theater box office on Fridays from 10:30 a.m. to 5:30 p.m.; or at The Travel Center, 1265 S. Main St., Lakeport, from 9 a.m. to 5 p.m., Monday through Friday.

The Soper Reese Theatre is located at 275 S. Main St., Lakeport. For more information call 707-263-0577.

MAD MAX: FURY ROAD (Rated R)

The original “Mad Max” film gave Mel Gibson his big start on the road to stardom.

George Miller, a medical doctor by profession, proved to be an excellent director, launching a career that has now come full circle with “Mad Max: Fury Road.”

To put everything into perspective, when “Mad Max” debuted in 1979, malaise gripped America, radical mullahs took over Iran with the Islamic revolution, and the Soviet Union was only months away from invading Afghanistan.

With its emphasis on a desolate future, this dystopian action film seemed like a good fit for the era.

Now 36 years later, “Mad Max: Fury Road” may be tapping into the zeitgeist once again.

But Mel Gibson has been replaced by Tom Hardy, who’s wearing an iron mask that is reminiscent of his appearance as Bane in “The Dark Knight Rises.”

Best of all, George Miller, the mastermind of the post-apocalyptic worldview, still has a vivid imagination.

The future is bleak in George Miller’s world, a chaotic place, where there is no rule of law, no power grids, no water, and no mercy.

Once the battle was only for oil, not it’s just a matter of survival. Life on this forbidding planet is nasty, brutish and short.

Water is the key to power wielded by the maniac tyrant Immortan Joe (Hugh Keays-Byrne, who played the psychotic Toecutter in the original “Mad Max”).

The Citadel, a fortress spun into a cave system where water is pumped from the only aquifer for miles around, is like a chamber of horrors for the unfortunate.

What’s left of humanity roams the Wasteland in wild tribes or clings to survival at the foot of the Citadel, where the desert warlord favors his War Boys, pasty-white creatures fueled by constant blood transfusions and a diet of mother’s milk.

As the film opens, Tom Hardy’s Max Rockatansky (the same name for Mel Gibson’s character) is a veteran of some desert war with a skill set that allows him to survive alone. He’s a wanderer in search of an idealistic place that no longer exists.

Ambushed by a wild pack of marauding War Boys, Max is dragged back to the Citadel, the most fortified stronghold in the Wasteland, where his fate is to become a source of blood transfusion for Immortan Joe’s zombie-like army.

It’s at the Citadel that we meet Imperator Furiosa (Charlize Theron), a shaved-head female warrior who is tasked with driving the War Rig to Gas Town, flanked by an armada of super-charged vintage muscle cars and trucks converted to armored vehicles.

Suddenly, Furiosa detours her rig and her convoy off their scheduled run, and it becomes clear she has a different agenda. Immortan’s kingdom erupts into bedlam.

Furiosa’s War Rig carries the precious cargo of the tyrant’s five wives, each one a sex slave prized for breeding purposes to produce a male heir.

Meanwhile, since Max is now an unwilling blood donor hooked up to warrior Nux (Hicholas Hoult), our hero is strapped to the front end of the car that Nux drives in pursuit of the wayward Furiosa.

Not long after the first run, things happen to make Max and Furiosa guarded allies as they flee for the mythical sanctuary of the Green Place.

While George Miller may be philosophical about the idea driving his “Mad Max” franchise being attributed to “Alfred Hitchcock’s notion about making films that can be watched anywhere in the world without subtitles,” the essence of “Fury Road” is action so intense that dialogue is a mere afterthought, and even when there are spoken words, it’s mostly in the service of driving the mayhem.

Dialogue is so minimal that Max never even utters his own name until late in the movie’s run. He’s like the Man with No Name in the spaghetti westerns, which seems appropriate to the desert wasteland that is the backdrop for what is essentially a non-stop road warrior chase.

Imagery is a key element. A symbolic leafless tree stands alone in the desolate sands. A monstrous, sweeping sandstorm decimates the landscape. Every detail from the gadgets attached to the pursuing vehicles to the armaments used by the warriors is a visual treat.

In pursuit of Max and Furiosa, some of the War Boys catapult on bending poles from their vehicles in attack mode, while others frantically beat war drums.

The high-octane Road War is orchestrated by a dude swinging from a bungee cord as he shreds metal and flame from a double-necked electric guitar-cum-flamethrower.

“Fury Road” unfolds in near-constant action, with only a few breaks to allow everyone to catch their collective breath.

Tom Hardy has nailed the role of the road warrior Max, but he’s eclipsed by Charlize Theron’s superior portrayal of Furiosa, a feminist icon for a dismal age.

George Miller has gone into overdrive to deliver an exciting, action-packed road thriller.

To be sure, “Mad Max: Fury Road” has plenty of action violence, some of it graphic, but all of it necessary to drive the plot.

George Miller has a great bag of tricks that make this installment a most worthy component of the venerable franchise. 

Tim Riley writes film and television reviews for Lake County News.

History, more often than not, is far more interesting than fiction.

Exposure to historical incidents in the form of a fact-based movie or expansive TV event can whet one’s appetite for a more comprehensive understanding of famous occasions that are common knowledge.

Hopefully, the significance of the Battle of the Alamo is a familiar story to most. “Remember the Alamo” became a rallying cry for the Texas Revolution. Later, it became a popular song immortalized by artists like Tex Ritter and Johnny Cash, among others.

The brutal siege of the Alamo by Mexican General Santa Anna became a pivotal event, stirring the flames of the Texas Revolution that lead to the eventual defeat of the Mexican Army at the Battle of San Jacinto.

The History Channel’s ambitious 10-hour miniseries “Texas Rising” tells the story of the hardy Texian Army and the rise of the legendary Texas Rangers, along with Texas settlers and adventurers from the United States, who came together, fueled by the desire for revenge, to fight valiantly against Santa Anna and his forces.

Unfolding in five episodes, “Texas Rising” starts with the vicious attack on the Alamo, where every last defender was killed, and even the captives were executed under the orders of General Santa Anna (Oliver Martine), who claimed the rules of war did not apply, so there would be no prisoners taken.

Once victorious at the Alamo on March 6, 1836, Santa Anna, bolstered by a Mexican Army superior in numbers and weapons, plans to quash the Texian bid for independence by destroying the Texan Army under the command of General Sam Houston (Bill Paxton).

Badly outnumbered by Santa Anna’s military, General Houston is either unwilling or unable to render help at the Alamo, most likely knowing it would be suicidal. But inaction causes rumblings among the troops, with many seeking to petition his removal as commander.

In any case, with “Texas Rising” getting its start in the aftermath of the Alamo battle, and even though the series has plenty of colorful characters, we miss out on the opportunity to have the spotlight on such legendary heroes as Davy Crockett and James Bowie, both of whom were among the early casualties of war.

Fittingly, Texas native Bill Paxton creates a larger-than-life Sam Houston, who eventually becomes the hero of the revolution in the victorious Battle of San Jacinto that results in the founding of the Republic of Texas.

Another historical figure on the scene is Emily West (Cynthia Addai-Robinson), a free black woman, who is rescued from the Alamo, and here at least, is given a past relationship with Sam Houston in New Orleans.

Emily West may be better known in legend as well as popular lyrics as “The Yellow Rose of Texas.” Her place in history is cemented when she’s ensconced in the Mexican camp, using all her powers of seduction to gain vital intelligence in the fight against Santa Anna.

In the early goings, mutiny is almost at hand against the perceived lackluster leadership of General Houston.

Texians under Colonel Fannin (Rob Morrow) end up surrounded by the Mexican Army and forced to surrender. But when Santa Anna orders their execution, this barbarous act enrages the Texians, uniting them to fight harder.

Though he may have been a brilliant general, Santa Anna comes across as not only a vile human being, but a battlefield dilettante, holding court with Emily West at a candlelight dinner in his well-appointed tent and savoring a fine meal and expensive wine.

Helpfully, the series provides subtitles to announce dates and the location of various events, offering context to the unfolding history.

On the other hand, a large cast of characters are tossed into a patchwork of scenes, resulting in some ongoing confusion.

One of the most interesting persons is Jeffrey Dean Morgan’s Deaf Smith, a legendary Texas Ranger who adores his Tejana wife and returns as often as possible to his family ranch. Despite some serious health problems, Smith carries on with single-minded devotion.

Ray Liotta’s crazed Lorca, a survivor of Santa Anna’s cruelty, lurks in the shadows, exacting his own measure of vengeance on the Mexican Army.

Meanwhile, Brendan Fraser’s Billy Anderson has American Indian heritage that proves helpful when the Comanches suddenly appear.

“Texas Rising” has an epic scope which is undermined, to some extent, by action that is too often more plodding than truly exciting.

Kris Kristofferson is thrown briefly into the mix, for no apparent reason, as President Andrew Jackson.

This sweeping adventure features cast members like Jeff Fahey, Thomas Jane, Christopher McDonald and Jeremy Davies filling roles not always memorable. Yet, Davies stand outs only because he’s a sniveling deserter who provides comic relief.

The History Channel provided only the first two episodes of “Texas Rising” for preview, so it is entirely possible and fervently wished that the coming decisive Battle of San Jacinto will be worth the wait.

The series also can be watched online at http://www.history.com/shows/texas-rising .

Tim Riley writes film and television reviews for Lake County News.

Poets often do their best work when they’re telling us about something they’ve seen without stepping into the poem and talking about themselves.

Here’s a lovely poem of observation by Terri Kirby Erickson, who lives in North Carolina.

Hospital Parking Lot

Headscarf fluttering in the wind,
stockings hanging loose on her vein-roped
legs, an old woman clings to her husband

as if he were the last tree standing in a storm,
though he is not the strong one.

His skin is translucent—more like a window
than a shade. Without a shirt and coat,

we could see his lungs swell and shrink,
his heart skip. But he has offered her his arm,
and for sixty years, she has taken it.

American Life in Poetry is made possible by The Poetry Foundation ( www.poetryfoundation.org ), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright 2014 by Terri Kirby Erickson, “Hospital Parking Lot,” from A Lake of Light and Clouds (Press 53, 2014). Poem reprinted by permission of Terri Kirby Erickson and Press 53. Introduction copyright 2015 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. They do not accept unsolicited manuscripts.

People speak of “hearts and flowers” when they’re talking about poems with predictable sentimentality, but here’s an antidote to all those valentines, from Sally Bliumis-Dunn, who lives in New York.

Her most recent book of poems is Second Skin, Wind Publications, 2010.

Heart

She has painted her lips
hibiscus pink.
The upper lip dips
perfectly in the center

like a Valentine heart.
It makes sense to me—
that the lips, the open

ah of the mouth
is shaped more like a heart
than the actual human heart.
I remember the first time I saw it—

veined and shiny
as the ooze of a snail—
if this were what
we had been taught to draw

how differently we might have
learned to love.

American Life in Poetry is made possible by The Poetry Foundation ( www.poetryfoundation.org ), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright 2014 by Sally Bliumus-Dunn and reprinted by permission. Introduction copyright 2015 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. They do not accept unsolicited manuscripts.