Numéro Cinq

Cover image for The Domino Project’s edition of “Self-Reliance,” c2011.

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Nothing is at last sacred but the integrity of your own mind. Absolve you to yourself, and you shall have the suffrage of the world. I remember an answer which when quite young I was prompted to make to a valued adviser who was wont to importune me with the dear old doctrines of the church. On my saying, “What have I to do with the sacredness of traditions, if I live wholly from within?” my friend suggested—“but these impulses may be from below, not from above.” I replied, “They do not seem to me to be such; but if I am the Devil’s child, I will live then from the Devil.” No law can be sacred to me but that of my nature. Good and bad are but names very ready transferable to that or this; the only right is what is after my own constitution, the only wrong is what is against it. 

—Ralph Waldo Emerson, “Self-Reliance” (1841)

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Quantum sumus, scimus. That which we find within ourselves, which is more than ourselves, and yet the ground of whatever is good and permanent therein, is the substance and life of all other knowledge.

—Samuel Taylor Coleridge, Aids to Reflection (1825)

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If I live my life according to my God-given insights, then I cannot go wrong, and even if I do, I know I have acted in good faith.

—Adolf Hitler, in conversation (1941)

1.

This year marks the 175^th anniversary of the publication of Emerson’s “Self-Reliance.” Until I sat down recently to re-read it in preparation for a talk I’d been invited to give on the subject, I’d somehow managed to forget just how complex and internally qualified that essay is, and how the interpretive problems are as compounded as they are clarified by Emerson’s later revisitings of his central idea. As Spinoza tells us in the final note to the Ethics, “All excellent things are as difficult as they are rare.” The difficulties one encounters in reading Emerson in general are inseparable from the pleasures. The principal complications stem, in the first place, from Emerson’s temperament and style, and, second, from the richness of the spiritual, philosophic, and poetic traditions in which he was embedded, and by which, for all his originality, he was profoundly influenced.

Stylistically, Emerson is so committed to polarity that his powerful yet ambiguous texts are full of overstatements and qualifications, swerves and counter-swerves. In the second half of many lectures and essays, he takes away with the left hand what he has just given with the right. As he notoriously proclaimed in our main text, “Self-Reliance,” a “foolish consistency is the hobgoblin of little minds” (E&L 265). His disciple Walt Whitman was never more Emersonian than when (in “Song of Myself” §51) he asked a rhetorical question and responded audaciously: “Do I contradict myself?/ Very well, then, I contradict myself./ (I am large. I contain multitudes)”—to which Emerson’s German disciple, Friedrich Nietzsche, responded: “It is precisely such ‘contradictions’ that seduce one to existence.”{{1}}[[1]]

On the Genealogy of Morals, Third Essay, §2, in Friedrich Nietzsche, On the Genealogy of Morals and Ecce Homo, trans. Walter Kaufmann and R. J. Hollingdale (New York: Vintage, 1967), 99.[[1]]

There is a polarity at the heart of “Self-Reliance,” a primary thrust and a secondary elaboration, taking the form of a caveat, an inconsistency, what the prosaic Understanding would consider a “contradiction.” What Emerson meant by his pivotal idea is not always as obvious as our initial excited response to the clarion call to independence in “Self-Reliance” would suggest. The ambiguity lurking beneath the surface has required interpretation, and thus potential misreadings, of what the volatile and not always consistent Emerson actually intended to convey in urging on us his imperative of self-trust and inner reliance. In what follows, I will flesh out those complications and “contradictions,” and attempt to resolve them, not only by exploring Emerson’s later elaborations on the idea, but by placing climactic emphasis where he himself placed it in the final sentence of “Self-Reliance”: on the “peace” that relies on trust in Intuition, yet requires a moral, divinely inspired component, “the triumph of principles.”

“Self-Reliance” is Emerson’s most widely-read essay and, if not his greatest, certainly his most influential. Emerson’s central idea in this essay has had a profound impact on American thought as well as on the world of practical affairs, commercial and political, especially in its glorification of the “individual” at the expense of “society,” depicted as a distraction or hindrance. Many an American Captain of Industry has found Emersonian sanction for often rapacious business practices. But despite his strenuous advocacy of self-reliance, admiration of men of action exercising “power,” and observation that, like history, “an institution is the lengthened shadow of one man” (E&L 267), Emerson’s individualism was not meant to endorse commodification and the Exchange in the form of ruthless corporate aggrandizement, nor, though this connection has also been made, to justify Western expansion. It is certainly open to use and abuse, but in its various adaptations, self-reliance has all-too-often been simplified, even distorted—most often in the same way in which “Social Darwinism,” with its self-centered doctrine of the “survival of the fittest,” has misrepresented Darwin’s theory of the various ways, often cooperative rather than competitive, evolution actually works.

We are not wrong to read “Self-Reliance,” a prose Song of Myself, as an unforgettably defiant declaration of independence: an exhilarating celebration of the individual who has cast off the repressive and conformist strictures of society, and buried the dead past in favor of “the present hour.” Employing a favorite device, the rhetorical question, Emerson asks: “Is the parent better than the child into whom he has cast his ripened being? Whence, then, this worship of the past?” Where the soul “is, is day; where it was, is night; and history is an impertinence and an injury, if it be anything more than a cheerful apologue or parable of my being and becoming.” Narcissistically, this out-trumps Trump, but it is saved by Emerson’s turn to “today” and to Nature. The “blade of grass or the blowing rose”

exist with God to-day. There is no time to them. There is simply the rose; it is perfect in every moment of its existence….But the man postpones or remembers; he does not live in the present, but with a reverted eye laments the past, or, heedless of the riches that surround him, stands on tiptoe to foresee the future. He cannot be happy or strong until he too lives with nature in the present, above time. (E&L 270)

But Emerson’s concept of the sovereign self, living for the moment and liberated from the burden of the past, simultaneously incorporates (though often overlooked, especially by thrilled young readers rebelling against their elders) an insistence that every person’s inmost identity is part of a larger whole, a transpersonal universal. To be sure, “Self-Reliance” sets the individual in splendid isolation against all that would threaten the imperial self, especially the opinions of others and all the interrelated conformist pressures of society and tradition. And yet the essay also stresses “virtue” and “principles”: built-in safeguards against the egocentricity Emerson seems not only to most value, but to license and unleash.

Ralph Waldo Emerson, 1878 (via Wikimedia Commons)

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2.

The concept of an inner self that transcends the merely private and egoistic (just as Jungian “individuation,” or “self-actualization,” often seems inseparable from “self-transcendence”) is rooted in those earlier-mentioned spiritual, philosophic, and poetic sources comprising the “traditions” by which Emerson was influenced. For even this arch-champion of self-reliant originality and radical independence was deeply indebted to selected precursors, preeminent among them John Milton and his visionary progeny: poets and thinkers in the Romantic tradition (Coleridge, Wordsworth, Carlyle) and clerics in the line of radical “inner light” Protestant spirituality, from Reformation theologians to one of his own mentors, the liberal Unitarian William Ellery Channing. Emerson’s “star of the American Church” (JMN 7:470) proclaimed, in his famous sermon of that title, “man’s likeness to God,” a God who “dwells within us.” Emerson was an even more ardent believer in the God within. Fusing the “still, small voice” of the Lord (1 Kings 19:12) with Jesus’ assertion that “the Kingdom of God is within you” (Luke 17:21), he told his cousin David Greene Haskins: “I believe I am more of a Quaker than anything else. I believe in the still small voice, and that voice of Christ is within us.” He had “only glimpses” of the “divine principle that lurks within us,” but for Emerson, “God is, and we within him,” a conviction for which he found even pagan support—in the 6^th and final book of Ovid’s Fasti: “There is a God within us. It is when he stirs us that our bosom warms.” (JMN 4:27-29, 3:12)

However radical, Emerson’s insistence on what Milton (negatively) and the British Romantics (positively) referred to as “divinity within” has precedent in both testaments of the Bible. “I will put my love within them,” says the Lord (Jeremiah 31:32-33), anticipating Jesus’ assertion that “the kingdom of God is within you.” The uncanonical Gospel of Thomas contains an identical formulation, “The Kingdom of God is inside you.” Though a suppressed text unknown to the author of “Self-Reliance” (it was rediscovered at Nag Hammadi in Egypt more than a century after that essay was written), this Gnostic gospel is remarkably aligned with Emerson’s own religious radicalism, most fully developed in the “Divinity School Address” he delivered at Harvard on July 15, 1838.

On that memorable evening, Emerson shocked the theological faculty of his alma mater by (among other outrages to even Unitarian convention) describing “historical Christianity” as corrupt and “corpse-cold.” One “would rather be,” he intoned (quoting Wordsworth’s sonnet, “The World is Too Much with Us”), a “pagan, suckled in a creed outworn,” than to be a conformist Christian “defrauded” of the “manly right” to “dare” to “live after the infinite Law that is within you.” In a passage uncannily parallel to a central passage in Thomas (“if you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you”), Emerson announces, in the most dramatic antithesis in the Divinity School Address: “That is always best which gives me to myself….That which shows God in me fortifies me. That which shows God out of me makes me a wart and a wen.”{{2}}[[2]]

E&L 81; italics added. For the passage (verse 70) in Thomas, see Elaine Pagels, Beyond Belief: The Gospel of Thomas (New York: Random House, 2003), 32.[[2]]

What scandalized the Divinity School faculty—especially as garbed in the deliberately provocative rhetoric Emerson employed on this notable occasion—thrilled the young graduates in the audience. Each neophyte preacher, fortified by the God within him, was, proclaimed Emerson, to go forth on a revolutionary mission: “Yourself a newborn bard of the Holy Ghost, cast behind you all conformity and acquaint men at first hand with Deity.”{{3}}[[3]]

E&L 80, 89. Ironically, given Emerson’s thirty-year ostracism from Harvard following this address, it was voted in 1903 that money left over from the celebration of the centennial of his birth be spent on a marble tablet, placed in the old Divinity School chapel, and inscribed: “Acquaint yourself at first hand with Deity.”[[3]] That unmediated access to the divinity within, Emerson’s refusal to draw a clear distinction between the inspired “self” and the inspired Savior (Jesus was but one, though the first and greatest, to realize that “God incarnates himself as man”), along with his contemptuous dismissal of tradition and “conformity,” allies the Divinity School Address with the essay it directly anticipates: “Self-Reliance.” In fact, that essay is in part a reaction to the furious public controversy following Emerson’s Address: a widespread and incendiary brouhaha in which the lecturer was condemned as a “mad dog,” a “pagan,” an “infidel,” even a demonic Pan or devil who had planted “the cloven hoof” of German pantheism and atheism in New England.{{4}}[[4]]

For a synopsis of the vehement response to the Divinity School Address, as well as Emerson’s own response, in his poem “Uriel,” see my Emerson, Romanticism, and Intuitive Reason (Columbia and London: University of Missouri Press, 2007), 339-44.[[4]]

It is true that, in both lecture and essay, Emerson was intellectually participating in a philosophy imported from Germany: in the epistemological “Copernican revolution” of Immanuel Kant, as transmitted to him, “filtered,” through the British Romantics, principally Coleridge and Thomas Carlyle, both of whom stressed the centrality of Kantian Transcendental Idealism and the radical extension of Kant by J. G. Fichte, who transcended the antithesis between Ich and Nicht-Ich—famously Englished by Carlyle and Emerson as “Me” and “NOT ME” (E&L 8)—by positing a “pure I,” even a “Divine-Me.” In Biographia Literaria (1817), Coleridge published a caricature, what he called a “burlesque on the Fichtean Egoismus.” Coleridge’s satiric doggerel opens with a burst of Latin translatable as “Huzzah! God’s vice-regent, myself God,” and continues:

The form and the substance, the earth and the sky,
The when and the where, the low and the high,
The inside and outside, the earth and the sky,
I, you, and he, and he, you, and I,
All souls and all bodies are I itself I!

Everything, the Supreme Being included, is part of the world’s “Lexicon,” with the “I” or Ich as the “root.” In all “cases,” grammatical and philosophic, the Fichtean Ich is the “case absolute,” “self-begot,” yet indistinguishable from “the God infinitivus!”{{5}}[[5]]

For both lampoon and commentary, see Coleridge, Biographia Literaria, ed. James Engell and Walter Jackson Bate, 2 vols. 1:160. Vol 7 in The Collected Works of Samuel Taylor Coleridge, ed. Kathleen Coburn and Bart Winer, 16 vols. (Princeton: Princeton University Press (1969-2003).[[5]] What Coleridge says here of the Fichtean Egoismus was later said, more genially and in more readable verse, of Emerson by his friend James Russell Lowell. Writing at his epigrammatic best in the finest vignette in his 1848 Fable for Critics, an amused and yet devastatingly on-target Lowell wrote:

All admire, and yet scarcely six converts he’s got
To I don’t (nor they either) exactly know what;
For though he builds glorious temples, ’tis odd
He leaves never a doorway to let in a god.
’Tis refreshing to old-fashioned people like me
To meet such a primitive Pagan as he,
In whose mind all creation is duly respected
As parts of himself—just a little projected;
And who’s willing to worship the stars and the sun,
A convert to—nothing but Emerson!{{6}}[[6]]

Lowell, A Fable for Critics (New York: George P. Putnam, 1848).[[6]]

Though Lowell was aware of the complexities in Emerson’s position, his parody conveyed (to quote Coleridge on his own “burlesque” of Fichte) “as tolerable a likeness” of his subject’s “idealism as can be expected from an avowed caricature.” In an early, unpublished poem of his own, Emerson located God at the “bottom of my heart,” his “voice therein” an “oracle” and “wise Seer” who always guides “aright.” I “never taught what it teaches me,” Emerson concludes. “Whence then did this omniscient Spirit come?/ From God it came. It is the Deity” (JMN 4:447-48). Another notebook entry, a meditation recorded on May 26, 1837, begins and ends with questions: “Who shall define to me an Individual?….Cannot I conceive the Universe without a contradiction?”

In between these genuine questions, Emerson contemplates the “One Universal Mind” and “my being embedded in it.” God is “the soul of Me. I can even with a mountainous aspiring say, I am God, by transferring my Me out of the flimsy & unclean precincts of my body…and my private will.” A “believer in Unity, a seer of Unity, I yet behold two….Hard as it is to describe God, it is harder to describe the Individual.” He overcomes this philosophic duality and “contradiction” by falling back on the mysterious light of Intuition. At moments, a “certain wandering light comes to me which I instantly perceive to be the Cause of Causes. It transcends all proving. It is itself the ground of being; and I see that it is not one & I another, but this is the life of my life.” At such privileged “moments,”

I have known that I existed directly from God, and am, as it were, his organ. And in my ultimate consciousness Am He. Then, secondly, the contradictory fact is familiar, that I am a surprised spectator & learner of all my life….But whenever the day dawns, the great day of truth on the soul, it comes with awful invitation to me to accept it, to blend with its aurora.{{7}}[[7]]

EPP 497. This polarity was later fleshed out in “Circles,” in the famed paragraph beginning, “Our moods do not believe in each other,” and ending, “Alas…for this vast ebb of a vast flow! I am a God in nature; I am a weed by the wall” (E&L 406): a vacillation between self-deification and utter nihilism.[[7]]

Emerson’s imagery in this extraordinary passage reflects the Inward Light of radically immanent Protestantism, and, more specifically, the language of his favorite lines in the poem that most haunted him and to which he most often alludes: Wordsworth’s “Ode: Intimations of Immortality,” where those intimations are presented as “the fountain light of all our day/…a master light of all our seeing.” But the merging of self and God also resembles that of Fichte, which casts its own light, thrilling yet problematic, on the concept of Self-Reliance.

(l. to r.) William Wordsworth, Samuel Taylor Coleridge, Thomas Carlyle (via Wikimedia Commons)

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3.

Allied with the spiritual conceptions of an “inward light” or “divinity within,” the most radical aspect of Emerson’s conception of “self-reliance” is derived in part from German Idealism. Emerson’s core idea had, in turn, a momentous impact on a later German philosopher, Friedrich Nietzsche, the anti-Idealist proponent of the Will to Power and of the Übermensch. The American’s most enthusiastic and formidable European disciple, Nietzsche considered Emerson the major thinker of the age and filled almost every margin of his copy of the Essays with scribbled annotations. Nietzsche is “Emersonian” in his condemnation of the dead weight of the past, in his praise of “Dionysian” instinct and intuition, in his exaltation of the exceptional or “higher” man, and in his dismissal of the conformist “herd.”

At times, Emerson could be as ruthless as Nietzsche toward the mediocre “herd,” as in the following provocative passage on the relationship of “great” individuals to the community, which occurs in no less crucial a text than “The American Scholar,” a lecture read by Nietzsche and a precursor of his untimely meditation “On the Uses and Disadvantages of History for Life.” Here, sounding like Nietzsche, is the supposedly benign Emerson on the current condition:

Men in the world to-day are bugs, are spawn, and are called “the mass” and “the herd.” In a century, in a millennium, one or two men [approximate] to the right state of every man. All the rest behold in the hero or the poet their own green and crude being,—ripened, yes, and are content to be less, so that may attain to its full stature….The poor and the low are content to be brushed like flies from the path of a great person, so that justice shall be done by him to that common nature which it is the dearest desire of all to see enlarged and glorified. (E&L 66)

The goal is the “enlargement” of the self, a crucial concept Emerson derived, as we shall see, from Coleridge. Furthermore, in keeping with the related reciprocity between “Each and All” as laid out in Coleridge’s “Essay on Method” in The Friend, we “each” have a stake in developing the potential of “all” for the greater good. But this Nietzsche-anticipating (if not quite Nazi-foreshadowing) passage in “The American Scholar” is a notably harsh as well as hyperbolic cultural teaching. Usually, Emerson qualified or caveated his most hyperbolic assertions; Nietzsche tended not to. And though he borrowed the phrase from Emerson’s Divinity School Address (E&L 88), Nietzsche, that atheist and self-professed Antichrist, really meant it when he announced that “God is dead.” Emerson, devotee of the God within, cannot have known what the catalytic impact of the doctrine of self-reliance would be on the precociously brilliant German youth who began to read him at the age of seventeen. Himself a great liberator, Nietzsche found his own liberating god in Emerson.

What gets liberated is another matter. Though the Nazis exploited and distorted much that was in Nietzsche, few serious readers any longer accept the once-commonplace alignment of Nietzsche with Nazism. But such explosive phrases as “the blond beast,” “the master race,” the “Will to Power,” and the Übermensch, did provide materials to be exploited and distorted. As Nietzsche himself said in opening the “Why I Am a Destiny” section of Ecce Homo, “I am no man; I am dynamite,” and dynamite, which can explode indiscriminately, is particularly dangerous in the wrong hands, a “fate” Nietzsche feared.{{8}}[[8]]

Ecce Homo, trans. Walter Kaufmann, in Kaufmann and Hollingdale, 326. This opening paragraph had begun, “I know my fate. My name one day will be associated with the memory of something tremendous.” Expressing a “terrible fear” that “one day” he would be “pronounced holy,” he said he was writing Ecce Homo to “prevent people from doing mischief with me.” Written in 1888, but not published until 1908, eight years after Nietzsche’s death, Ecce Homo did little to prevent mischief.[[8]]

Emerson was an equally brilliant and provocative phrasemaker. His guilt by association is less notorious than the Nazification of Nietzsche, but Emerson—that glorifier of the “aboriginal Self,” celebrator of one’s “sacred impulses,” professor of “one doctrine: the infinitude of the private man” (JMN 7:342), and champion of autonomy, “self-reliance” and the “God within”—has also been connected with Hitler and Nazism. One distinguished American critic, Alfred Kazin, reported in 1997 in God and the American Writer that he once heard another distinguished literary critic, the conservative Southerner Cleanth Brooks, “charge that ‘Emerson led to Hitler.’”{{9}}[[9]]

Kazin, God and the American Writer (New York: Vintage, 1997), 14.[[9]] The charge is of course excessive. Yet, in his own perverse way, Hitler was a product of the same German Idealist philosophy that found its way to Emerson by way of Coleridge, Carlyle, and French philosopher Victor Cousin. Reading Fichte, philosopher of the “Divine-Me,” Hitler marked passages in which Fichte claimed that “God and I are One….My work is his work, and his work my work,” among other identifications of himself “with God.” In perusing Fichte, the Führer found evidence to support his own growing belief that the “mortal and divine were one and the same: that the God he was seeking was in fact himself.”{{10}}[[10]]

This is the conclusion of Timothy W. Ryback, in “Hitler’s Forgotten Library: The Man, His Books, and His Search for God” (Atlantic Monthly [May 2003], 76-90). In 2001, Ryback studied Hitler’s annotations in these and other religio-philosophical books and manuscripts in the Führer’s personal library, volumes now housed in the Hitler Collection in the Library of Congress, Washington, D.C.[[10]]

Johann Gottlieb Fichte (via Wikimedia Commons)

Appropriately enough, Hitler’s eight-volume set of Fichte was given to him by Leni Riefenstahl, the filmmaker who also gave the world in 1934 the greatest of all propaganda films, The Triumph of the Will, whose opening shot features a plane bearing Hitler descending from the clouds: deus ex machina, the Führer as God. At the Eagle’s Nest precisely a century after the 1841 publication of “Self-Reliance,” a metaphysical Hitler informed his mesmerized guests: “If there is a God, then he gives us not only life but consciousness and awareness,” adding, in the sentence adopted as my third epigraph, “If I live my life according to my God-given insights, then I cannot go wrong, and even if I do, I know I have acted in good faith.”{{11}}[[11]]

Quoted by Paul R. Hinlicky, Before Auschwitz: What Christian Theology Must Learn from Nazism (Eugene, OR: Cascade Books, 2013), 134.[[11]]

This emphasis on divinely inspired intuitive “insights” sounds remarkably like the Emerson of much of “Self-Reliance”: the champion of “Intuition” who privileged “self-trust” and the “aboriginal Self, on which a universal reliance may be grounded,” and who insisted on “the source, at once the essence of genius, of virtue, and of life, which we call Spontaneity or Instinct. We denote this primary wisdom as Intuition, whilst all later teachings are tuitions. In that deep force, the last fact behind which analysis cannot go, all things find their common origin” (E&L 268-69). To this Emerson, as we have seen, “no law can be sacred” but that of his own nature. He lives “wholly from within,” and, while his “impulses” seem to him to come not “from below,” but “from above,” even if “I am the Devil’s child, I will live then from the Devil” (E&L 261-62). Given his equation of the individual with infinitude, the self with the God within, Emerson, who has been blamed for so much by so many critics of unrestrained individualism, might even be blamed for the messianic psychopath whose will to power transformed the most culturally and philosophically sophisticated nation on earth into the most barbaric and, together with an all-too-willing new Germany, produced worldwide carnage and a genocide so ferocious that it shattered our naïvely optimistic theories of progress and disfigured the image of humanity itself. But unlike Emerson, Hitler genuinely was “the Devil’s child”: “the devil’s miracle man,” in the memorable depiction by psychologist and Holocaust historian Walter Reich.{{12}}[[12]]

Reich, “The Devil’s Miracle Man,” New York Times Book Review, January 30, 1999.[[12]] The supposedly “God-given insights” of Adolf Hitler were really the dark side of the Protestant belief in the Inner Light, of Fichte’s “Divine-Me,” and a particularly rancid example of the High Romanticism of Coleridge, Carlyle, and Emerson gone sour.

Pace Cleanth Brooks, Emerson is not responsible for the rise of Hitler. Nevertheless, that the concepts of divinity within and of self-reliant individualism are not only liberating, but also potentially anarchic or tyrannical or both, was conceded by some of the British Romantics and American Transcendentalists themselves, usually in their later, “conservative” years. For all their emphasis on the individual mind and heart, and their celebration of “genius” and the godlike creative Imagination, Coleridge and Wordsworth—like their mentor Milton and unlike the advocates of a rugged individualism or will to power that is mindlessly or brutally self-assertive—retained a belief in autonomy, freedom, and idealism without forgetting that the needs of a humane society, knit by ties of reciprocal obligation, were incompatible with selfish (merely private and therefore petty) individualism. Despite his obsession with society’s threat to the self, the same is true of Emerson.

Hitler and bust of Nietzsche (via Axis History Forum)(Photo credit)

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On the other hand, making the author of “Self-Reliance” socially responsible runs the risk of de-radicalizing or “taming” Emerson, whose fierce celebration of self-reliance and the God within at once fascinates and troubles even that most devout of Emersonians, Harold Bloom. “In forming the mind of America,” Bloom writes, Emerson “prophesied a crazy salad to go with our meat.” That last image is a silent but appropriate allusion to Yeats’s “A Prayer for My Daughter” (1919), a poem endorsing (in contrast to externally driven women like Maud Gonne, who “eat a crazy salad with their meat”) the “radical innocence” of the autonomous soul that discovers that it is “self-delighting,/ Self-appeasing, self-affrighting,/ And that its own sweet will is Heaven’s will.” This concern about the Pentecostal and political ramifications of Emerson’s alignment of the autonomous self with the divine will occurs in Bloom’s 2004 book, Where Shall Wisdom Be Found?{{13}}[[13]]

Bloom, Where Shall Wisdom Be Found? (New York: Riverhead Penguin, 2004), 200. Earlier, however, in the title of the Prelude to a 1996 book, Bloom equated Emersonian “Self-Reliance” with “Mere [pure] Gnosis,” especially with the Gnostic concept of the “deep self” as a “unit of the universe,” the “original self” being “already one with God.” Omens of Millennium (New York Riverhead, 1996), 1, 15, 20, 23.[[13]] The following year, another major literary critic, Denis Donoghue, agreeing with this momentary reservation but, unlike Bloom, hostile to Emerson, set himself against all benign interpretations of self-reliance. Rejecting the depictions by stalwart Emersonians of their hero’s individualism as a “social value,” even “the flowering of democracy” (a thesis nuanced in Stanley Cavell, strenuous in George Kateb), Donoghue, going too far in the other direction, presents us with an “arch-radical” with “no interest in providing professors of politics with a theory of society.” Emerson was “really an anarchist; necessarily so, since he cultivated the thrill of glorifying his own mind and refused to let any other consideration thwart him.”{{14}}[[14]]

The American Classics: A Personal Essay (New Haven: Yale University Press, 2005), 42-43, 51. In a Marxist critique, V. F. Calverton conceded Emerson’s sincerity and his initially liberating impulses. “Eternally,” however, “Emerson’s stress is upon the self, the individual self, the personal ego. Society can take care of itself, or go hang, as the frontiersman would have put it. It is the individual who must be stressed, the individual who must…become sufficient unto himself….Without wishing it, Emerson gave sanction by virtue of his doctrines to every type of exploitation which the frontier encouraged.” But Calverton goes too far in concluding that the faith of Emerson and Whitman in the common man as “a petty bourgeois individual” is outmoded and must now be replaced (he was writing in the depth of the Depression) by “our belief” in the common man as “proletarian collectivist.” The Liberation of American Literature (New York: Scribner’s, 1932), 247-49, 258, 479-80.Whatever Emerson’s sins, it’s Calverton’s vision of the “future” that now seems outmoded.[[14]]

Two decades earlier, Bloom had registered his negative response to the often-castigated passage early in “Self-Reliance” where Emerson denies his “obligation” to those “poor” with whom he has no “spiritual affinity,” even though he confesses “with shame” that “I sometimes succumb” to the call of “miscellaneous popular charities” (E&L 262-63). In response, Bloom acknowledged that “self-reliance translated out of the inner life and into the marketplace is difficult to distinguish from our current religion of selfishness,” a remark endorsed with vigor a few years later by John Updike, always hostile to Emerson, who reduced this anti-philanthropic passage to a simple doctrine of “righteous selfishness.” Subjecting the same provocative passage of “Self-Reliance” to a brilliant textual and contextual reading, Stanley Cavell insists that the biblical sources on which Emerson is playing reveal him as clearly distinguishable from “those who may be taken as parodies of him.”{{15}}[[15]]

Bloom, “Mr. America,” New York Review of Books (November 22, 1984). Updike, “Emersonianism,” in Odd Jobs: Essays and Criticism (New York: Knopf, 1991). Cavell responded to such charges, perhaps more ingeniously than persuasively, in his 1984 lecture “Hope against Hope,” reprinted as Appendix A of his Conditions Handsome and Unhandsome: The Constitution of Emersonian Perfectionism (Chicago: University of Chicago Press, 1990), 134-35.[[15]]

Perhaps. But there is no denying that Emerson disliked “stirring in the philanthropic mud,” even when—as in his open letter to President Van Buren protesting (in vain) the carrying out of the brutal and unconstitutional Jacksonian policy of uprooting the Cherokees from their ancestral lands—he believed in the cause. What he resented was being pressured into acting. As an exponent of self-reliance, he was determined to do only what “concerns my majesty & not what men great or small think of it….I write my journal, I read my lectures with joy—but this stirring in the philanthropic mud, gives me no peace.” And, in concluding on the quietist note that “I will let the republic alone until the republic comes to me,” he endorses the “wise passiveness” of Wordsworth, who condemned (in “Expostulation and Reply”) the overbusy conviction that “nothing of itself will come,/ But we must still be seeking.” He had also alluded to these lines in 1837, declaring, in the peroration of “The American Scholar,” that if “the single man plant himself indomitably on his instincts, and there abide, the huge world will come round to him” (E&L 70), and again, three years later, and explicitly, when he told the abolitionists in his audience that he would persist in wearing his loose and unbecoming “robe…of inaction, this wise passiveness, until my hour comes when I can see how to act with truth as well as to refuse.”{{16}}[[16]]

EL 3:266. His initial reticence but final commitment to the abolition of slavery has been clarified by Emerson’s Antislavery Writings (New Haven: Yale University Press, 1995), ed. Len Gougeon and Joel Myerson; and by The Political Emerson: Essential Writings on Politics and Social Reform, ed. David. M. Robinson (Boston: Beacon Press, 2004).[[16]] That hour would come, the republic would seem to Emerson to have “come” to him, when the question of slavery, and the danger of its extension, epitomized in the enactment of the Fugitive Slave Law, moved Emerson to eloquence on behalf of a republic threatened by what he slowly but surely perceived to be a moral abomination.

The hour had not quite “come” in writing the letter to President Van Buren, when Emerson had accepted the activist role “rather from my friends” than from his own dictate. “It is not my impulse to say it & therefore my genius deserts me, no muse befriends, no music of thought or word accompanies. Bah!” (JMN 5:479). The violence of his language reveals his sense that no matter the justice of the cause, he had, by submitting to collectively imposed pressure from his neighbors, betrayed his own intuitive “impulse,” his nonconformist creed of self-reliance.{{17}}[[17]]

Robert Lowell, invited to a White House reception during the Vietnam war (which he opposed), was planning to attend—until urged not to by friends and colleagues, who wanted the nation’s most prominent poet at the time to make a statement by rejecting President Johnson’s invitation. Like Emerson, Lowell agreed with the opposition to presidential policy, but took an activist and public position only because pressed to do so by friends.[[17]]

Readers of Emerson are aware of the often-chilly dismissals of human ties sometimes required by the dominant aspect of the doctrine of “self-reliance.” Consider an often-overlooked element in the famous or notorious epiphany in the opening chapter of Nature, where Emerson becomes a “transparent eyeball”:

Standing on the bare ground—my head bathed by the blithe air, and uplifted into infinite space,—all mean egotism vanishes. I become a transparent eye-ball; I am nothing, I see all; all the currents of the Universal Being circulate through me; I am part or particle of God. The name of the nearest friend sounds then foreign or accidental: to be brothers, to be acquaintances…is then a trifle and a disturbance. (E&L 10)

In this ocular epiphany, the self becomes part of God, “While with an eye made quiet by the power/ Of harmony, and the deep power of joy,/ We see into the life of things” (Wordsworth,“Tintern Abbey”). But we are so caught up in the visionary moment that we barely notice the dismissal of “friends” and “brothers”—even Emerson’s beloved brother Charles, the “dear friend” whose recent death is alluded to in this chapter’s final words (E&L 11). “Who can ever supply his place to me?” Emerson writes in a heartbroken journal entry. “The eye is closed that was to see Nature for me, & give me leave to see” (JMN 5:152). Now, in a kind of compensation, Charles’s metaphorical transmutation into an all-seeing but impersonal eyeball leaves Emerson at once exhilarated and isolated, friendship reduced to the foreign and accidental, even brotherhood a trifle. Similarly, the great and disturbing essay “Experience,” written in the aftermath of the death of little Waldo, Emerson’s son taken by scarlet fever when he was not yet six, proclaims the allegedly superficial nature of grief and love. In the most troubling single passage in all of Emerson, he says of “this calamity: it does not touch me. Something which I fancied was part of me, which could not be torn away without tearing me…falls off from me, leaving no scar. It was caducous” (E&L 473).

Devastated by the death of his boy, Emerson is struggling to compensate for his loss by adapting Wordsworth’s idealist praise of those “obstinate questionings/ Of sense and outward things,/Fallings from us, vanishings,” in Emerson’s favorite stanza of “Intimations of Immortality.” Yet, even if we detect this verbal and thematic connection to the great Ode, we cannot but be shocked by the apparently heartless use of the coldly scientific term, “caducous,” typically applied to a placenta or shed leaves from a tree, or other fallings-off that leave the quintessential life unchanged.{{18}}[[18]]

The “caducous” passage is repugnant enough to call for a note to assure readers that its author was anything but a cold, unfeeling parent. No stranger to familial tragedy, Emerson had earlier suffered the loss of his beloved Ellen, his first wife, and of two cherished brothers, Charles and Edward. But the death of little Waldo was the single most devastating event of his life. Despite his famous optimism, the self-reliant exponent of “the erect position” acknowledged in “Threnody,” his long-delayed elegy for his son, that “this losing is true dying;/ This is lordly man’s down-lying,/ This his slow but sure reclining,/ Star by star his world resigning” (lines 162-65). With the help of Wordsworth’s Intimations of Immortality Ode, Emerson managed to supply the generically-required consolation; in the final quintessentially Emersonian line, his precious son is pronounced “Lost in God, in Godhead found” (line 289).

But elegy is one thing, agony another. Nine-year-old Louisa May Alcott, who had been sent by her father to inquire about the condition of “little Waldo, then lying very ill,” never forgot what she saw and heard when Emerson entered the room. “His father came to me, so worn with watching and changed by sorrow that I was startled and could only stammer out my message. ‘Child, he is dead’ was the answer.” That was “my first glimpse of a great grief,” she recalled in commemorating Emerson’s own death forty years later, adding that “the anguish that made a familiar face so tragic…gave those few words more pathos than the sweet lamentation of the Threnody.” (“Reminiscences of Ralph Waldo Emerson,” in Youth’s Companion [May 25, 1882], 213-14.) Similarly, the brother of Elizabeth Hoar—who had grieved with his sister when her fiancé, Emerson’s brother Charles, died in 1836—said that he was “never more impressed with a human expression of agony than by that of Emerson leading the way into the room where little Waldo lay dead.” For the reaction of Rockwood Hoar, Jr., see Ralph L. Rusk, The Life of Ralph Waldo Emerson (New York: Charles Scribner’s Sons, 1949), 294.[[18]] Later in “Experience,” we are told that

The great and crescive self, rooted in absolute nature, supplants all relative existence, and ruins the mortal kingdom of friendship and love….There will be the same gulf between every me and thee, as between the original and the picture….The soul is not twice-born, but the only begotten,…admitting no co-life….We believe in ourselves as we do not believe in others. (E&L 487-88)

xWaldo Emerson, four months before his death in January, 1842. (Harvard University Library, via Wikimedia Commons)

To return to the essay “Self-Reliance”: immediately preceding his denial of any “foolish” obligation to miscellaneous popular charities, Emerson rejects “the doctrine of love” when it “pules and whines,” famously declaring: “I shun father and mother and wife and brother, when my genius calls me. I would write on the lintels of the doorpost, Whim” (E&L 262). Having, like Jesus (Matthew 12:34-48), played this audacious variation on Deuteronomy 6:9 and Exodus 12:23, Emerson immediately adds, “I hope it is somewhat better than whim at last, but we cannot spend the day in explanation. Expect me not to show cause why I seek or why I exclude company.” This afterthought is a minor example of a dominant pattern in Emerson, who characteristically supplies the reservations or qualifications to his own liberating, challenging, but overstated case in “Self-Reliance.” Though implicit throughout, it is only at the very end of “Self-Reliance” that Emerson most clearly qualifies, delimits, and moralizes his claim for the liberated self. “Nothing can bring you peace but yourself,” he writes, adding at once and finally: “Nothing can bring you peace but the triumph of principles” (E&L 282; italics added).

In the second half of the essay Emerson had spoken of “our docility to our own law” and the “poverty” of all else, even “nature,” in comparison to “our native riches.” But this is so only because “God is here within.” Emerson rejects “the rage of travelling” (E&L 278). Man’s “genius” is admonished “to stay at home, to put itself in communication with the internal ocean” (the source of the title, The Inner Ocean, of George Kateb’s first book on Emersonian “self-reliance”). Consequently, “let us not rove; let us sit at home with the cause,” alone, “begirt each one with a precinct or sanctuary. So let us always sit” (E&L 272-73). As that loyal Emersonian Robert Frost would later put it in a 1936 couplet included in his collection, A Witness Tree (1942): “We dance round in a ring and suppose,/ But the Secret sits in the middle and knows.”{{19}}[[19]]

Frost, “The Secret Sits.” The allegiance to Emerson on the part of Robert Frost was confirmed in his lecture “On Emerson,” delivered to the American Academy of Arts and Sciences on receiving the Emerson-Thoreau Medal in 1958. On that occasion, Frost stressed his alignment with Emerson’s monistic idealism; but in anti-welfare system poems like “Provide, Provide!,” Frost sounds like the Emerson resistant to giving to “miscellaneous charities.” Frost considered “Uriel” (Emerson’s defiant response to attacks on his Divinity School Address) the best American poem; Job, a character in Frost’s The Masque of Reason (line 344) refers to “Uriel” as “the greatest Western poem yet.”[[19]] In fact, to fully illuminate this passage of “Self-Reliance” requires us to enter a veritable echo chamber.

Caricature of The Transparent Eyeball by Christopher Pearse Cranch (Harvard University Library, via Wikimedia Commons)

x

5.

Emerson concludes that “all concentrates,” since the “vital resources” of everything in nature, including human nature, are “demonstrations of the self-sufficing, and therefore self-relying soul” (E&L 272). As in his description, earlier in “Self-Reliance,” of honor as “self-dependent, self-derived” (E&L 266), Emerson’s language echoes that of Milton’s Satan, describing himself and his fellow fallen angels as “self-begot, self-raised/ By our own quick’ning power…./Our puissance is our own” (Paradise Lost V:860-64). But the purport (Emerson as “the Devil’s child” notwithstanding) is less blasphemous than an affirmation of what Yeats, as we have just seen, referred to as the self-reliant soul’s recovery of “radical innocence”: the realization “that it is self-delighting, / Self-appeasing, self-affrighting,/ And that its own sweet will is Heaven’s will.” The analogy with Yeatsian “radical innocence” is not forced since Yeats is echoing, not Satan, but the Emerson of “Self-Reliance,” who tells us early in that essay that to remain always “formidable” we must “avoid” external “pledges,” and adopt an “unaffected, unbiased, unbribable, unaffrighted innocence” (E&L 261).

The “ultimate fact” in every instance, Emerson continues in the passage we began with, is “the resolution of all into the ever-blessed ONE,” since “Self-existence is the attribute of the Supreme Cause” (E&L 272). The language of the ONE is that of the Neoplatonist Plotinus, as mediated by Coleridge, but Emerson—fusing psychology and morality with Neoplatonist mystical theology—locates divinity in the tabernacle of the self. It is, however, what he will later call—in “Uses of Great Men” and his late essay “Character”—an “enlarged self.” But even in “Self-Reliance,” his phrases (the “triumph of principles” and “ultimate fact”) echo Coleridge’s insistence, in The Statesman’s Manual, that only the “enlargement and elevation of the soul above its mere self attest the presence, and accompany the intuition of, ultimate PRINCIPLES.”{{20}}[[20]]

Coleridge, The Statesman’s Manual, in Lay Sermons, ed. R. J. White (1972), 23. Vol. 6 in CC.[[20]] In “Character” (1866), referring in detail to these “great enlargements,” Emerson defines “morals” as “the direction of the will on universal ends,” adding: “He is immoral who is acting to any private end. He is moral—we say it with Marcus Aurelius and with Kant—whose aim or motive may become a universal rule, binding on all intelligent beings.” Having linked the correspondence sought by the Roman Stoic between the universe and his own moral impulses with the modern ethicist’s “Categorical Imperative,” Emerson quickly buttresses Marcus Aurelius and Kant with the Wordsworth of the Intimations Ode, quoting, as he so often does, the lines about “truths that wake/ To perish never,” the “fountain light of all our day,” and “master light of all our seeing,” which lead, in moral men, “to great enlargements” (W 10:94-97). In “Uses of Great Men,” the Introduction to Representative Men, Emerson says that “these enlargements” liberate “elastic” man from his “bounds” so that he is “exalted” by “ideas” transcending his individual self (E&L 622-23).

But this transcendence of the private self, though an aspect of the argument in “Self-Reliance,” is hardly the primary thrust most of us register while reading the essay, or in the immediate aftermath of our initial bewitchment by Emerson’s rhapsodic celebration of the “spontaneous,” “intuitive” self as the very font of “originality” and “power.” In the opening paragraph of the essay, we are urged

To believe your own thought, to believe that what is true for you in your private heart is true for all men,—that is genius. Speak your latent conviction, and it shall be the universal sense; for the inmost in due time becomes the outmost,—and our first thought is rendered back to us by the trumpets of the Last Judgment. (E&L 259)

The dramatic imperative to “believe your own thought,” your own “private heart,” can make us miss the reciprocity between “inmost” and “outmost,” our “first thought” and the “Last Judgment,” the individual and the “universal.”

It’s no wonder most readers miss these qualifications and caveats. David Hume roused Kant from his “dogmatic slumbers,” and Emerson wants to shake and shock us out of our conformist complacency. So powerful is his advocacy of self-reliance that Stephen Whicher, whose Freedom and Fate was for several decades the most praised study of Emerson’s “inner life,” influentially insisted that “the lesson” Emerson “would drive home is man’s entire independence. The aim of this strain in his thought is not virtue, but freedom and mastery. It is radically anarchic, overflowing all the authority of the past, all compromise or cooperation with others, in the name of the Power present and agent in the soul.”{{21}}[[21]]

Whicher, Freedom and Fate: An Inner Life of Ralph Waldo Emerson (Philadelphia: University of Pennsylvania Press, 1953), 56.[[21]] It would be hard to improve on so brilliantly concise a summation of so crucial an aspect of Emerson’s position. Though not the only “strain” in Emerson’s thought, it is exhilarating, and can be—as Denis Donoghue and others have emphasized—anti-democratic and dangerous.

Cavell, Lawrence Buell, and George Kateb would disagree, but hostile critics—most (not all) coming from the political Left, and most of them focusing on “Emersonianism,” as opposed to the personally benign Sage of Concord—have seized on the ambiguous legacy of Emersonian individualism in order to stress immoral rather than moral “enlargements”: the hazards of a detached, egoistic, antisocial, unlimited, avaricious, anarchic, even solipsistic self, valorized and privileged at the expense of solidarity, association, community. Morse Peckham, writing a decade after Whicher, spoke for many in saying of Emerson, he “created a doctrine of ‘self-reliance’ which could be and was absorbed by the anarchic individualism of the socially irresponsible middle-class Philistine.”{{22}}[[22]]

Peckham, Beyond the Tragic Vision: The Quest for Identity in the Nineteenth Century (New York: George Braziller, 1962), 236.[[22]]

One might respond that, just as Nietzsche should not be blamed for the crimes of Nazism, the excesses of unfettered capitalism or of Ayn Randian selfishness should not be laid at the door of Emerson. But the provocative ideas and stylistic seductiveness of both of these great liberators, in particular their exaltation of a seemingly autonomous self, opened casements on some perilous seas. Nevertheless, for those who would, under the aegis of self-reliance, confuse the Miltonic distinction between “license” and “liberty,”{{23}}[[23]]

In the sestet to Sonnet XII, Milton refers to those who “bawl for freedom in their senseless mood,/ And still revolt when truth would set them free./ License they mean when they cry liberty;/ For who loves that must first be wise and good.”[[23]] Emerson has an austere response, even in “Self-Reliance.” The “populace” may think that the “rejection of popular standards is a rejection of all standard, and mere antinomianism,” a wholesale dismissal of moral law. That is not so. A commitment to self-reliance “enables me to dispense with the popular code.” But “if anyone imagines that this law is lax, let him keep its commandment [for even] one day.” For self-reliance has its own “stern claim” and self-legislated challenge:

truly it demands something godlike in him, who has cast off the common motives of humanity, and has ventured to trust himself as a taskmaster. High be his heart, faithful his will, clear his sight, that he may in good earnest be doctrine, society, law, to himself, that a simple purpose may be to him as strong as iron necessity is to others! (E&L 274)

The preacher of self-reliance as “law, to himself,” has his own Categorical Imperative; and, as in Milton, he “who loves liberty, must first be wise and good.”

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6.

I have already elaborated on the third of my epigraphs, citing Adolf Hitler. As indicated by that epigraph and the first, from Emerson himself, Emersonian Self-Reliance is less a doctrine than—as Nietzsche would put it—potential “dynamite.” It can also be (at least hypothetically and theoretically) diabolical—“if I am the Devil’s child, I will live then from the Devil”{{24}}[[24]]

Nietzsche partially transcribed the passage in “Self-Reliance” in which Emerson nonchalantly says that if he is “the Devil’s child, I will live then from the Devil.” An echoing Nietzsche has his prophet say (in “On the Pitying,” the section on repression in the second part of Zarathustra): “to him who is possessed by the devil I whisper this word: ‘Better for you to rear up your devil!’” Thus Spoke Zarathustra,” in The Portable Nietzsche, ed. and trans. by Walter Kaufmann (New York: Viking, 1954), 201.[[24]]—unless it is tempered by other considerations. Here, the formative influences, crucial to Emerson, are those of John Milton and his principal Romantic disciple, Coleridge.

Like Hitler, Milton’s Satan bases his “divinity” on a corrupted sense of what Milton himself meant in his prose texts, as well as in the masque Comus and Paradise Lost, by “freedom.” As my friend and former colleague, Milton scholar William Shaw, observed in responding to the present essay, this “warped” sense of freedom is impervious “to the freedom of others, and not only self-serving but without a moral foundation.” It inevitably leads to “tyranny, and the more powerful the person, the more terrible the tyranny.” In Milton’s Tenure of Kings and Magistrates, Bill notes, the “tyrant” is defined as “he who, regarding neither law nor the common good, reigns only for himself and his faction.”{{25}}[[25]]

William Shaw, email to me dated June 1, 2016. Bill raised a crucial double-question: “Is Emerson saying that what made intuitive behavior wise was some fixed principle of the person defining it for him/herself? Or, does the person define that principle as well, so there is this floating relativity?” Though I am arguing that the “principles” that “triumph” in the final sentence of “Self-Reliance” are “fixed,” there is evidence enough in Emerson’s texts to also support a “floating relativity” thesis.[[25]]

As my middle epigraph reveals, Coleridge strove to affirm the primacy of “that which we find within ourselves,” without losing sight of our moral and communal responsibilities and without surrendering to the willfulness of what Coleridge, specifically citing Milton’s fallen archangel, called “Satanic pride,” “wicked” enthusiasm, and self-worshiping rebellion. In its “reprobate” form, he writes in a much-discussed Appendix, “the WILL becomes Satanic pride and rebellious self-idolatry in the relation of the spirit to itself, and remorseless despotism relatively to others,” the consequence of the will’s “fearful resolve to find in itself alone the one absolute motive of action, under which all motives from within and from without must be either subordinated or crushed.”{{26}}[[26]]

Coleridge, Appendix C of The Statesman’s Manual, in Lay Sermons, 63.[[26]]

Like Coleridge and Wordsworth (indeed, all the British Romantics), Emerson was steeped in Miltonic thought and poetry. In Paradise Lost, Adam and Eve, having disobeyed God, immediately “fancy that they feel/ Divinity within them breeding wings/ Wherewith to scorn the earth”; but the “false fruit” inflames instead lascivious “carnal desire” (IX:1009-14). Familiar with Jesus’ assertion that the kingdom of heaven is “within you,” the Romantics and their American disciple were also well aware that, in the final book of Milton’s epic poem, the Archangel Michael promises fallen Adam, as abundant recompense for the Eden lost, a “Paradise within thee, happier far” (XII:587). Having experienced a bogus sense of “divinity within,” Adam and Eve achieve (to again cite Bill Shaw) “their ‘paradise within’ when they have learned obedience to God,” along with “such virtues as…temperance and charity. And the Lady in Comus is unassailable because of her subscription to ‘sober laws.’ She loves ‘virtue’ because she alone is free.”

But the Romantics, who venerated Milton, also revised him. To one degree or another, they naturalized the supernatural, secularized the sacred, and, as Wordsworth made dramatically manifest in the great “Prospectus” to The Recluse, psychologized Miltonic theology. For nothing in Heaven or Hell, neither “Jehovah—with his thunder,” nor the “darkest pit of lowest Erebus,”

can breed such fear and awe
As fall upon us often when we look
Into our Minds, into the Mind of Man,
My haunt, and the main region of my song.
(“Prospectus,” 35-41)

Emerson printed the whole of the “Prospectus” in his anthology Parnassus, renaming it “Outline” to accurately present it as Wordsworth’s guide to his entire canon: a Kant-echoing synopsis (to quote the conclusion of The Prelude) of “how the mind of man becomes/ A thousand times more beautiful than the earth/ On which he dwells, above this frame of things/…In beauty exalted, as it is itself/ Of quality and fabric more divine.”{{27}}[[27]]

Wordsworth, The Prelude (1850), XIV:450-56. The equivalent cognitive turn in Keats occurs in the first of the great odes. Like the “Prospectus,” the “Ode to Psyche” assimilates and supersedes Milton and adopts Wordsworth’s (Coleridge-influenced) adaptation of Kant. As the neglected goddess’s priest and choir all in one, “see[ing] and sing[ing] by my own eyes inspired,” Keats will, in the extraordinary final stanza, “build a fane/ In some untrodden region of my mind” (lines 50-51), precisely that “Mind of Man” chosen by Wordsworth as his haunt and the “main region” of his “song.”[[27]] Emerson followed the Romantics in this internalizing process, emphasizing, above all, the sanctity of the sovereign human mind. In the final and climactic sentence of his seminal book, Nature—his imagery of light, blindness, and perfect sight silently but unmistakably gathering up Milton, Coleridge, and Wordsworth—Emerson had proclaimed “the kingdom of man over nature” (E&L 49). Four years later, in “Self-Reliance,” he insists that “Nothing is at last sacred but the integrity of your own mind,” continuing by posing that characteristically audacious rhetorical question: “What have I to do with the sacredness of traditions if I live wholly from within?” (E&L 261-62)

In such passages, Emerson is the rhapsodic champion of autonomy and originality, exalting an intuitive “divinity within” and liberation from the dead weight of the past. Repudiating outworn institutions and established authority, he insists, in notably virile (and, as we’ll see, again Miltonic) imagery, that to be a “man” one “must be a non-conformist,” since “society everywhere is in conspiracy against the manhood of every one of its members…The virtue in most request is conformity. Self-reliance is its aversion” (E&L 261). Once again, faced with this antithesis between society and self, we need to seek the balance Emerson wants us to find, however difficult he makes the task by the power of his own rhetoric.

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7.

Resistance to conformity and to the burden of tradition also extends to self-reliance and self-trust in engaging literary and historical texts, though, here again, we encounter a huge caveat. We are to read “creatively,” Emerson tells us in “Self-Reliance” and in “The American Scholar,” adding in a third, “History” (which opens Essays: First Series), that the student is to read “actively and not passively; to esteem his own life in the text,” for everything is “within us, of the soul.” This, he asserts, is his “claim of claims” (E&L, 237, 239). If this claim, exciting as it is, seems excessive, it’s because it is. Anticipating all of these essays, Emerson had foreshadowed in an 1831 journal entry his defiant assertion of autonomy and originality. The journal entry reads: “Every man has his own voice, manner, eloquence. Let him scorn to imitate any man, let him scorn to be a secondary man” (JMN 3:199). And following this scornful rejection of parasitic imitation in favor of creative originality, he inscribed in the same journal these four lines of verse:

In your own bosom are your destiny’s Stars.
Confidence in yourself, prompt resolution;
This is your Venus! & the sole malignant,
The only one that harmeth you, is Doubt! (JMN 3: 251)

But despite adamant and absolute “confidence in yourself,” this ringing endorsement of self-reliant originality is borrowed. The lines are quoted from a German play by Friedrich von Schiller, which Emerson referred to as “Coleridge’s Wallenstein” since he read Schiller’s drama in the British Romantic’s translation—just one of many examples of Coleridge serving as a transatlantic conduit of German thought to his less-than-totally self-reliant American recipient. “Insist on yourself,” cries Emerson; “never imitate,” which is, at best, to half-possess “the adopted talent of another.” And this imperative was foreshadowed in the dramatic declaration at the outset of “Self-Reliance” that “imitation is suicide,” that a man “must take himself, for better, for worse, as his portion” (E&L 278-79, 259). Nevertheless, other examples of what has been called the “paradox of originality” occur in “Self-Reliance” itself. Though it rejects “imitation” and mere reading (“tuition”) in favor of spontaneous “intuition,” “Self-Reliance” begins, “I read the other day some verses….” (E&L 259). And halfway through, Emerson begins a paragraph: “Man is timid and apologetic; he is no longer upright; he dares not say ‘I think,’ ‘I am’ but quotes some saint or sage” (E&L 270). But once again, despite the point he is making, Emerson himself is quoting, this time from René Descartes’ Second Meditation. “The truth,” as Emerson acknowledged in an 1835 lecture, “The Age of Fable,” is that “There never was an original writer. Each is a link in an endless chain.” Indeed, our debt to our precursors is “so massive” that one might say (as he does in a splendid late lecture, “Quotation and Originality”) “there is no pure originality. All minds quote.” “Genius borrows nobly”; if we could trace the line back to them, we would, he adds, find that “even the archangels” quote.{{28}}[[28]]

“The Age of Fable,” in EL 1:284-85. “Quotation and Originality,” in EPP 320, 323.[[28]] This paradox is never more paradoxical than in Nature. That seminal book, which announces American and Emersonian originality, is riddled with unacknowledged borrowings from Coleridge and Wordsworth, and yet somehow remains original.

Claiming originality yet quoting, mixing what he contrasts as book-learning or “tuition” with original “intuition,” Emerson is not dismantling the whole “upright” and individualistic thesis of “Self-Reliance,” a text that is nothing if not a rejection of suppliant dependence and an expression of what he repeatedly calls the “sovereignty” or “majesty” of “the erect position” (E&L 282)—though, even here, Emerson is echoing Milton’s description of unfallen Adam and Eve, “erect and tall,/ Godlike erect,” and “clad/ In naked majesty.”{{29}}[[29]]

PL IV:288-90. In his deliberately sordid 1920 poem “Sweeney Erect,” whose title constitutes a phallic pun on Emerson’s (Miltonic) “erect position,” T. S. Eliot cites Emerson by name:

The lengthened shadow of a man
xxxxxxxIs history, said Emerson
Who had not seen the silhouette
xxxxxxxOf Sweeney straddled in the sun.

In these lines, Eliot alludes to another formulation from “Self-Reliance” (“an institution is the lengthened shadow of one man”), which he fuses with a related phrase from Emerson’s “History”: “If the whole of history is one man, it is all to be explained from private experience.”[[29]] And yet, since a foolish consistency is the hobgoblin of little minds, Emerson can, in a famous passage at the outset of “Self-Reliance,” propose as the “highest merit” ascribable to “Moses, Plato, and Milton” that they supposedly “set at naught books and traditions, and spoke not what men but what they [themselves] thought. A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages” (E&L 259). These inner flashes anticipate the “Spontaneity or Instinct,” the “primary wisdom” Emerson calls “Intuition” (E&L 269, cf. 259 and 271). These gleams of light constitute, Emerson insisted in a contemporaneous (1845) journal entry, “the best part…of every mind.” Tantalizing “gleams” hovering “unpossessed before” a man, they far exceed in significance “that which he knows” through pedestrian Understanding. Emerson’s famous contrast, derived from Coleridge, between “Reason” and mere “Understanding” is complicated by the fact (a source of confusion for readers) that Emerson also follows Coleridge in equating capitalized Reason with “intuitive Reason” and thus with what the Romantics mean by the creative Imagination.

Those mysterious “gleams” to which Emerson refers emanate essentially, as we have seen, from his most cherished poem, the Intimations Ode. He was haunted by its “visionary gleam” and turned Wordsworth’s “a master light of all our seeing” into “the master light of all our seeing.” These profound intuitions and intimations, which even Wordsworth acknowledged were ineffable (“be they what they may”), remained, in Emerson’s favorite phrase from the Ode, “the fountain light of all our day.” That repeated “our,” replicated in Wordsworth’s shift from “I” to “we” in the final stanza of the Ode, marks the transition from the private self to a more generous inclusiveness. The “self within” of Emersonian self-reliance is also more expansive than it initially appears—an expansiveness reflecting a pair of talismanic texts provided to a grateful Emerson by Wordsworth’s friend and fellow-laborer, Coleridge.

I have earlier cited Coleridge’s emphasis, in The Statesman’s Manual, on the “enlargements and elevation” of the principled soul “above its mere self,” a passage echoed by Emerson in both his essay “Character” and in “Uses of Great Men.” Two Coleridge texts that meant even more to Emerson, the “Essay on Method” in The Friend and Aids to Reflection, provided crucial help in forming—as a sort of supplement or qualification, even partial corrective, to “Self-Reliance”—his idea of an expanded or enlarged self. The reciprocity between “each and all” (“the relation of each to the other, of each to all, and of all to each”), coupled with the Latin axiom Quantum sumus, scimus (“we are what we know, and know what we are”), became, with the help of Coleridge’s own gloss in Aids to Reflection, momentous sources for Emerson’s finding (to synopsize the passage of Coleridge cited as my second epigraph) “within ourselves,” a self that is paradoxically “more than ourselves,” the ground and substance of the moral life and of “all other knowledge.”{{30}}[[30]]

The Friend (vol. 4 of the CC, 1969), ed. Barbara Rooke, 2 vols. I:511; Aids to Reflection (vol. 9 of CC, 1993), ed. John Beer, 30n. This book’s immense impact on Coleridge’s American disciples, Emerson included,was partly attributable to the cogent “Preliminary Essay” by James March (included by Beer) in introducing his 1829 edition of Coleridge’s 1825 text.[[30]] This Coleridgean sanction for an inner self that transcends the merely egoistic helps explain what, at its deepest level, Emerson meant by “self-reliance.” However straightforward it may seem at times, it is actually a complex concept—mixing Milton, Kant, and the British Romantics, in a blend that turns out, paradoxically but as usual, to be distinctively “Emersonian.” As such, it cannot, or at least should not, be reduced to “rugged individualism,” let alone to mere selfishness.

Transparent Eyeball courtesy Ron Koster, Psymon Web Bindery

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Conclusion

Given Emerson’s habit of emphasizing, depending on the occasion, a single aspect of a larger truth, his formulations are often ambiguous, and this is nowhere more true than in his various presentations of self-reliance. In the end, however, Emerson’s key concept seems to embrace and illuminate—however fierce the affirmation of individualism and independence in the essay actually titled “Self-Reliance”—the problematic relationship between the merely private self and what a Coleridgean Emerson called the “enlarged” Self, between the Self and God, even the polarity between what he referred to as Solitude and Society. An “intensely focused thinker who kept returning lifelong to his core idea,” Emerson was, notes Lawrence Buell, “forever reopening and reformulating it, looping away and back again, convinced that the spirit of the idea dictated that no final statement was possible.” Nevertheless, like George Kateb, perhaps the most penetrating analyst of the theory of Self-Reliance, Buell insists on the importance to Emerson of what Kateb calls “impersonal individuality”: a formulation that subsumes the apparent or actual “contradiction” between the God within and what Emerson calls “the “Over-Soul,” between the assertion of an autonomous, intuitive self and the absorption of that self in an all-encompassing universal and impersonal life-force. I cannot improve upon Buell’s final formulation:

The Me at the bottom of the me, the “Trustee” or “aboriginal Self” on which reliance may be safely grounded, is despite whatever appearances to the contrary not a merely personal interest but a universal. The more inward you go, the less individuated you get. Beneath and within the “private” is a “public” power on which anyone can potentially draw. So Self-Reliance involves not a single but a double negative: resistance to external pressure, but then resistance to shallow impulse.{{31}}[[31]]

Buell, Emerson (Cambridge: Harvard University Press, Belknap Press, 2003), 65. Kateb, The Inner Ocean: Individualism and Democratic Culture (Ithaca: Cornell University Press, 1992), 90-91. See also Kateb’s Emerson and Self-Reliance (Thousand Oaks, CA: Sage Publications, 1995).[[31]]

That a double negative should be at the crux of an affirmative vision is only one of many paradoxes attending Emerson’s central idea. One is occasionally left wondering if Emersonian self-reliance is advocacy of extreme individualism, or individualism at all. If we are to take Emerson at face value when he later claims (W 11:236) that “Self-reliance, the height and perfection of man, is reliance on God,” it has to be added that few of the ardent young readers intoxicated by the essay of that title have taken it as a theological treatise.{{32}}[[32]]

This fusion of self-reliance with “reliance on God”—along with Fichte’s self-identification with God and Emerson’s similar “inner light” sense of divinity within (at least at certain “illuminated” moments)—has, as we’ve seen in the case of Adolf Hitler, tragic ramifications. There are also tragi-comic examples that amount to a reductio ad absurdum of the idea. Displaying humor as well as utter obliviousness to the widespread suffering caused by his industry, Lloyd  C. Blankfein, head of Goldman Sachs, publicly quipped, in the immediate wake of the 2008 crisis that had just upended millions of “lesser” lives, that bankers are “doing God’s work.” On a less calamitous level, hip-hop artist and pseudo-fashionista Kanye West, whose colossal ego dwarfs that of even the most self-entitled banker, has proclaimed, with not a trace of saving irony, that “God chose me. He made a path for me….I am God’s vessel.” Both men, especially West, have recently been presented, not as agents fulfilling a divine purpose, but as “assholes.” See Aaron James, Assholes: A Theory (New York: Anchor Books, 2012), 76n, 85.[[32]] And what, precisely, is Emerson telling us about the relationship between Spirit, Nature, Mind and, ultimately, between God and Man, Divinity and the Self? Such protean relationships, volatile in themselves, are further problematized by Emerson’s often shifting definitions, within a single text or over time. The paragraph of “Self-Reliance” that begins by insisting that “a foolish consistency is the hobgoblin of little minds” continues:

With consistency a great soul has simply nothing to do. He may as well concern himself with his shadow on the wall. Speak what you think now in hard words, and to-morrow speak what to-morrow thinks in hard words again, though it contradict everything you said to-day.—“Ah, so you shall be sure to be misunderstood.”—Is it so bad, then, to be misunderstood? Pythagoras was misunderstood, and Socrates, and Jesus, and Luther, and Copernicus, and Galileo, and Newton, and every pure and wise spirit that ever took flesh. To be great is to be misunderstood. (E&L 265)

In the case of Emerson, this admission or, rather, vaunting of inconsistency, contradiction, and sibylline incomprehensibility, may seem to be the “last fact behind which analysis cannot go” (E&L 269). Yet even in “Self-Reliance,” the aboriginal Self is neither anarchic nor arbitrary; indeed, it is disciplined by “stern” if self-imposed laws, a Self whose internal moral depths renders trivial the merely private good we associate with our superficial selves. “Compare all that we call ourselves,” says Emerson in “Character,” all “our private and personal venture in the world, with this deep of moral nature in which we lie, and our private good becomes an impertinence, and we take part with hasty shame against ourselves.” Juxtaposing two phrases separated graphically by only a single letter, Emerson explicitly contrasts our deep “moral nature” with what Wordsworth refers to in the pivotal stanza of the Intimations Ode as “our mortal nature,” whose hasty shame takes the form of guilty trembling. After evoking those Wordsworthian “High instincts, before which our mortal nature/ Doth tremble like a guilty thing surprised,” Emerson goes on to quote the rest of this crucial ninth stanza—accurately, with the exception of one significant change; he alters Wordsworth’s “a master light” to “the master light of all our seeing.” (W 10:94).

That is the light that Milton, Coleridge, Wordsworth, Carlyle, and their American disciple, Ralph Waldo Emerson, call “intuitive Reason”: the near-angelic power that leads the lowercase self, limited by “tuition” and mere Understanding, to “that source, at once the essence of genius, of virtue and of life, which we call Spontaneity or Instinct. We denote this primary wisdom as Intuition”; and it is in that “deep force, the last fact behind which analysis cannot go,” that “all things find their common origin….Here is the fountain of action and of thought” (E&L 269). And it is this “fountain light of all our day,” the “master light of all our seeing,” that guides and distinguishes the higher (individual and yet universal) Self: the Transcendental Self in which we can “trust,” and upon which “reliance may be safely grounded.” The lower self, “bound” and constricted, is often mired in “mean egotism” (E&L 10). But “whenever the great day dawns, the day of truth in the soul, it comes with awful invitation to me to accept it, to blend with its aurora” (EPP 497). In that aurora—the great Ode’s “fountain light of all our day” illuminating intuitive “truths that wake,/ To perish never”—contradiction and duality blend (for those, however skeptical, still open to that light) into a Unity in which Reason and Intuition are indistinguishable, the enlarged Self finding “peace” in (to again quote the final words of “Self-Reliance”) “the triumph of principles.”

—Patrick J. Keane

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Numéro Cinq Contributing Editor Patrick J. Keane is Professor Emeritus of Le Moyne College. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves (1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics (1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2008).

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Photo credit  Return to photo

Photo originally reproduced in “The Uses and Abuses of Nietzsche in the Third Reich: Alfred Baeumler’s ‘Heroic Realism’” by Max Whyte, in Journal of Contemporary History, April ­2008.

Emerson texts cited parenthetically

E&L   Emerson: Essays and Lectures, ed. Joel Porte. NY: Library of America, 1983.

EL   The Early Lectures of Ralph Waldo Emerson, ed. Stephen E. Whicher, Robert E. Spiller, and Wallace E. Williams. 3 vols. Cambridge: Harvard University Press, 1964, 1972.

EPP   Emerson’s Prose and Poetry, ed. Joel Porte and Saundra Morris. NY and London: Norton, 2001.

JMN   The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, ed. William H. Gilman, Ralph H. Orth, et al. 16 vols. Cambridge: Harvard University Press, Belknap Press, 1960-1982.

W   The Complete Works of Ralph Waldo Emerson. Centenary Edition, ed. Edward Waldo Emerson. 12 vols. Boston and New York: Houghton Mifflin, 1903-1904.

Milwaukee, 1968. Milwaukee Journal photo.

Dorothy Day images courtesy of the Department of Special Collections and University Archives, Marquette University Libraries.

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Reading Dorothy Day makes me want to write radically, according to the Latin definition of the word, meaning from the root. Everything she wrote—novels, articles, letters, diary entries—was rooted deeply in her political, social, and spiritual beliefs. And she lived the way she wrote—freely and richly—eschewing convention, however society happened to define it. As Victorian norms still enshrouded America, she moved alone from Chicago to New York to live and work and find love where she might. Yet during the sexual revolution of the 1960s, when a whole generation was challenging traditional marital values, she upheld them firmly. In terms of social justice, her inclinations tended to be years ahead of most of her contemporaries. She fought on the cusp of practically every crucial social movement of the twentieth century—against the war in Vietnam, against the Atom Bomb, on behalf of Civil Rights, labor, and suffrage. She didn’t just live as a Catholic, she lived according to Gospels, stripping herself of her possessions because Christ had commanded it, loving the poor—truly loving them, which was an act of will, because the poor, up close, can be horrifying. As I read through her published works, her type-written notes, and her scribbled manuscripts, I can find nothing that she didn’t do with passion. She lived passionately, again, going to the root of the word, meaning to suffer, and she suffered in living and loving. Dorothy suffered as a lifelong habit, because she believed that to suffer was to understand Christ, and like all mystics, she dreamt of crossing through the mirror and meeting her God face to face. She wrote long rambling letters that journeyed the world and back and always ended with love of God and man alike. “The final word is love,” she copied over and over in her works.

Dorothy Day, 1930s.

Before I began this project I was most familiar with the famous Dorothy, the post-conversion Dorothy, the one she wanted us to see, the woman who landed in prison at the age of seventy-five for protesting alongside Cesar Chavez and the California grape workers. I knew less of her earlier commitments to causes and quandaries that have since fallen out of fashion or have, in some sense, been resolved such as socialism, anarchism, free love, New Womanhood. The first time I read The Long Loneliness, her 1952 spiritual memoir, I understood that she had always been radical and had always written with and about passion. When I read her first novel (now out of print) I was shocked at its transgressive nature. Who described the physical effects of abortion in the 1920s? Who even admitted to having one, a fraught subject even today? I resolved to write with honesty, to embrace the uncomfortable, to write as a whole person, both flesh and spirit, but most of all to write passionately, from the root.

Dorothy radically invested herself into every action, whether it was motherhood, journalism, farming, or prayer. Yet she was also a radical in the conventional sense, throughout her life belonging to multiple fringe groups who advocated for extreme social change. After leaving home in 1916 at the age of nineteen, she moved to New York and embarked on an adventurous career in journalism. Her jobs writing for the socialist paper the New York Call and The Masses introduced her to Greenwich Village intellectuals like John Reed, Floyd Dell, Max Eastman, Crystal Eastman, Eugene O’Neil, Emma Goldman, Neith Boyce, and Louise Bryant. In their company as well as that of lesser known cohorts, Dorothy experienced Communist sympathizers, the suffrage movement, Margaret Sanger’s birth control campaign, and wrote, protested, and debated about them long into the night. She wrote her first novel in 1924 and began another (never completed) in 1932.

Her family raised her to be nominally Protestant, but they never practiced or attended services. She converted to Catholicism in 1927 while living on Staten Island, shortly after giving birth to her only child, Tamar Batterham. Her conversion irrevocably changed the trajectory of her life, as it enforced a separation from her partner and father of her child, Forster Batterham, an anarchist who hated organized religion. In 1933, she encountered Peter Maurin, a French peasant philosopher with radical notions about returning the worker to the land, opening houses of hospitality in the cities, and spreading these ideas through a newspaper. And thus the Catholic Worker movement and newspaper was born. The first Hospitality House on Manhattan’s Lower East Side fed, clothed, and housed the poor and unemployed who languished in New York during the depths of the Great Depression.

While she herself maintained a pre- and post-conversion narrative of her life, the values of the Catholic Worker were every bit as radical as those of the Greenwich Village set. Through the newspaper, public appearances, rallies, and protests, Dorothy Day and the other CW members advocated pacifism, non-violent resistance, opposition to capitalism, and support for labor. What she wanted was not just better wages and more reasonable working hours, but an upheaval and transformation of existing society, an entire revolution, but one carried out with love, the only weapons being education and mercy.

Although she remained a committed journalist throughout her life, she never wrote another novel after The Dispossessed and focused instead on spiritual memoir, including her most famous work, The Long Loneliness. Despite the shifts in genre, her writing continued to be informed by radicalism and feminism as much as by orthodox Catholicism. She beautifully articulated contemporary social problems through the tropes of Christian mysticism. She continued to concern herself with the place of women within the family structure as well as with the centrality of sex in human interactions. Moving on from her earlier explorations of free love, she employed the language of desire to articulate her search for the divine that embraced both the spiritual and sensual.

ca. 1925.

,ca. 193.

Bohemian Romances

While other cities, including Dorothy’s native Chicago, were experiencing a similar renaissance in gender relations, in the nineteen teens, New York was truly the radical heart of American modernity. Greenwich Village, in particular, attracted intellectuals fascinated by the lure of change, whether it was in the arena of politics, labor, or sex. They wrote novels and plays and started newspapers to disseminate their ideas across the country. Some of the leading figures were immigrants from Eastern Europe like Emma Goldman. Others were scions of prominent families who had attended Harvard and Vassar like Crystal Eastman, Hutchins Hapgood, and John Reed. Most of them found inspiration in the socialist, communist, and anarchist movements in Russia and envisioned the day when a similar revolution would sweep America. If people wanted to write, express themselves, and generally experience life at the turn of the century, they dreamed of Greenwich Village.

Dorothy’s arrival in New York coincided with “a world in which modern women were encroaching on the formerly all-male turf of college, office, and street.”{{1}}[[1]]Miller 8.[[1]] Women were visible in ways their mothers had not been, and at least in Greenwich Village, several of their male colleagues welcomed that visibility as part and parcel of a new social order. Sexual equality was integral to the values of the Bohemian set. As Christine Stansell writes in American Moderns: Bohemian New York and the Creation of a New Century, “Throughout the left intelligentsia, the emancipated woman stood at the symbolic center of a program for cultural regeneration.”{{2}}[[2]]Stansell 225.[[2]] Financial independence, free speech, and political activism were all tenets of early-twentieth century feminism. Many of the women Dorothy met in New York were supporting themselves as journalists, playwrights, editors, novelists, artists, and political advocates. She remembered that “everyone on the city desk was writing a play or a book.”{{3}}[[3]]Long Loneliness 53.[[3]] Louise Bryant also worked for The Masses and during the war would move to France to work for the wire services. She would publish several books on Russian politics as well as plays. Ida Rauh, the wife of Dorothy’s editor Max Eastman, was a trained lawyer and active suffragist, as was his sister, Crystal Eastman. After the government shut down The Masses, Crystal Eastman would edit a new paper, The Liberator, for which Dorothy would work. Neith Boyce was another journalist who interacted with Dorothy socially at the Provincetown Players, where they were both involved in amateur dramatics.

Sexual freedom was part and parcel of New Womanhood in the teens. Dorothy’s experience was thus different from that of late Victorian female freethinkers and activists like the settlement house workers and the first female college professors. Husbands and children represented the horrors of domesticity they had longed to escape. Marriage and a career were seen as incompatible.{{4}}[[4]]Stansell 249.[[4]] “But with the supposed emergence of a sphere where men and women mingled in all sorts of all sorts of meaningful ways, work no longer obviated the possibility of heterosexual love.”{{5}}[[5]]Stansell 249.[[5]] For Dorothy and her contemporaries, true equality meant the right to socialize with male coworkers at the end of the day with the possibility of romance later in the evening. As Dorothy remembered of those years, “No one ever wanted to go to bed, and no one ever wanted to be alone.”{{6}}[[6]]Long Loneliness 84.[[6]]

The Greenwich Village radicals were tight-knit to the point of being incestuous. Men and women formed passionate friendships and collaborated on artistic endeavors. Dorothy’s co-workers on The Masses, John Reed and Louise Bryant, were the quintessential Bohemian power couple, living together and later marrying. Louise Bryant also had an affair with the playwright Eugene O’Neil. Reed, for his part, had been involved with Mabel Dodge, another writer on The Masses, who had also been romantically linked with Hutchins Hapgood, a prominent writer in the Greenwich Village circle and husband of journalist Neith Boyce. Terry Carlin, a friend of Dorothy’s and Hapgood’s muse for his novel An Anarchist Woman (1909), lived for a time with Eugene O’Neil.

Dorothy formed attachments to various men both inside and outside these circles. She developed a deep friendship with Eugene O’Neil as he was recovering from his tormented relationship with Louise Bryant. He would drunkenly recite poetry for her at a bar nicknamed the Hell Hole, and in The Long Loneliness she credits him with stirring the already deep wells of spiritual hunger in her.”{{7}}[[7]]Long Loneliness 84.[[7]] After staying up late all night with him she would occasionally run into a church for a morning mass. Later she fell deeply in love with the adventurer and occasional journalist Lionel Moise. He arrived in New York at the end of World War I having worked as an editor on The Kansas City Star alongside Ernest Hemingway, who described him as a hardbitten and fearless man’s man with an air of legend surrounding him.{{8}}[[8]]Forrest 51–52.[[8]] Hemingway wrote about Moise in 1952 that “what impressed me most in him was his facility, his un-disciplined talent and his vitality which, when he was drinking, and I never saw him when he was not drinking, overflowed into violence.”{{9}}[[9]]Ibid.[[9]] He furiously countered the argument (originating in Charles Fenton’s The Apprenticeship of Ernest Hemingway and repeated in multiple biographies) that Lionel had taught him how to write while simultaneously mythologizing him. “I remember him as a sort of primitive force, a skillful and extremely facile newspaper man who had his troubles and his pleasures with drink and women.”{{10}}[[10]]Hemingway 774–775.[[10]]

Lionel Moise’s rough attractions beguiled Dorothy, who later wrote in a letter to her partner Forster Batterham that “I’ve never loved anyone but you and Lionel.”{{11}}[[11]]Day, All the Way to Heaven 38.[[11]] She remained involved with him on and off through the early 1920s. Although still in love with him, in 1920 or 1921 Dorothy married Berkeley Tobey, the business manager for the socialist paper The Masses. Dorothy’s biograper Robert Coles referred to Tobey as “a strange man about whom little is known beyond gossip.”{{12}}[[12]]Coles 3.[[12]] I found a listing for him in a compilation of notable characters of Haworth, New Jersey, hilariously describing him as “a Greenwich Village rogue and bon vivant, married somewhere in the neighborhood of eight times.”{{13}}[[13]]“Haworth’s notable characters.” http://www.haworthnj.org/index.asp accessed 2 March 2015.[[13]] His last wife was the well-known California architect Esther McCoy. The photograph I saw shows a jovial man with a white walrus mustache, and is very much in keeping with the little I know of him, as he was posing next to three much younger attractive women, including Theodore Dreiser’s wife. His marriage to Dorothy lasted less than a year. She rarely mentioned him in her writing and never mentioned her marriage in The Long Loneliness, her memoirs of these years. By then, she had become a public figure due to her activism and was deliberately vague on the specifics of her romantic life before Forster Batterham. She always expressed her disapproved of Emma Goldman’s “tell-all” memoirs that named each of her lovers and recalled being “revolted by such promiscuity.”{{14}}[[14]]Day, Long Loneliness 60.[[14]] But while she later insisted upon her personal privacy, her writing in the 1920s quite openly explored the new sexual freedom she was living.

In terms of its honesty about sex and relationships from a female perspective, Dorothy’s novels The Eleventh Virgin and The Dispossessed were very much in sync with the work of her fellow writers and intellectuals, Louise Bryant, Crystal Goodman, Neith Boyce, and even, despite her dislike of her, Emma Goldman. They wrote sexually independent heroines into their novels and plays and they explored its real-life implications in treatises and articles. In her 1908 novel, The Bond, Neith Boyce chronicles the first stormy years of the marriage of Basil and Theresa. Theresa, a sculptor, struggles to maintain her artistic freedom despite the obligations of motherhood and household. She also refuses to accept Basil’s double standard regarding fidelity. After he has an affair with a wealthy widow, she insists on open flirtations with other men, although she never allows them to become physical. She employs the phrase, “balancing the account,” to counter Basil’s anger. Despite their mutual misunderstandings and jealousies, Theresa and Basil remain in love and enjoy a sexually satisfying relationship.{{15}}[[15]]Boyce and Hapgood 39–132.[[15]] Boyce’s 1921 one-act play Enemies picks up these themes. A husband and a wife, named simply “She” and “He,” argue back and forth about the inconsistencies and unhappinesses of their marriage. He complains she cares nothing for housekeeping and pays no attention to his interests. She retorts that he intrudes on her inner space and reveals her anger at his inability to remain faithful. In return, he insists, infuriatingly, that a husband’s infidelity means nothing, although a wife’s fidelity must remain paramount. At the end of the play, the two embrace and declare their mutual love and desire, although they admit they will continue to quarrel over these issues for years to come.{{16}}[[16]]Boyce and Hapgood 186–195.[[16]]

Theresa and Basil’s fictional marriage, as well as the anonymous marriage in Enemies mirrored several key questions of the day for feminists—double standards regarding fidelity in marriage, the availability of birth control, female independence within a marriage, and the possibilities of balancing household responsibilities with domestic duties. Crystal Eastman explored these issues in a series of articles and essays for a variety of periodicals, including Cosmopolitan, The Birth Control Review, Equal Rights, and her own The Liberator, for which Dorothy would also write in the late 1920s. Most notably, in her 1923 Cosmopolitan article “Marriage under Two Roofs,” she proclaimed the merits of wives living apart from their husbands, a practice she insisted upon in her own marriage.{{17}}[[17]]Eastman 76–83.[[17]] She advocated as well for husbands who took on housework, and for short hair, short skirts, legalization of prostitution, and ready access to birth control. As she wrote in a 1918 article for The Birth Control Review, “We want this precious sex knowledge not just for ourselves, the conscious feminist; we want it for all the millions of unconscious feminists that swarm the earth, —we want it for all women.”{{18}}[[18]]Eastman 46–49.[[18]]

Neith Boyce, Crystal Eastman, and other Greenwich Village women writers were exploring untrodden territory. As Christine Stansell explains,

American Victorian culture had bustled with sex talk in its own segregated, covert ways. But nineteenth-century women’s ability to speak as sentient sexual beings had been limited by a melodramatic vision of decent women’s victimization by men’s lust. Outside pornography, the words were literally lacking to speak of female desire. Now, the garrulous exponents of free love broke with the asymmetrical pattern by according women a voice and transforming the male soliloquy into a conversation between the sexes.{{19}}[[19]]Stansell 275.[[19]]

Dale Bauer terms this language as sex expressionism. “As sexuality became more public, the rhetorics of both the body and language could express sexual desire . . . women writers began to treat sex, once considered an urge or impulse, as a conscious act and a choice, deliberated, enacted and embodied.”{{20}}[[20]]Bauer 19.[[20]] Dorothy employed “sex expressionism” to describe both the chaotic internal life and the free-spirited external life of her heroine in The Eleventh Virgin.

The Eleventh Virgin chronicles the sexual awakening of June Henreddy. It begins with her first feelings of desire as a teenager for an older married neighbor and ends with her abortion and the painful end of an affair in her twenties. June’s body stirs, shivers, and shudders with desire. Later it spasms in pain while rejecting the fruit of those desires. The discourse surrounding desire is just as important as the act itself. June is only sexually active in the ending chapters; but the expression of her desire permeates the entire book. First comes the adolescent crush on a neighbor. The relationship exists entirely in June’s imagination, but Day is clear about the physical effects on the young girl. “Her mind had never seemed to be connected with her body and it was strange and wonderful that a thought, a glance, could make a little shower of delight run through her.”{{21}}[[21]]The Eleventh Virgin. The Dorothy Day Collection/The Catholic Worker. n.d. Web. n. pag.[[21]] The delight is both emotional, physical, and entirely welcome, as June admits that “she loved to be bitten by fierce emotion.”{{22}}[[22]]Ibid.[[22]] All nature seems to June to be in harmony with her desires. “A breeze sprang up as the sun settled on the sky line, and stirred the wisps of hair around their [June’s and her sister’s] hot faces. It was like a caress and June thought of Mr. Armand’s long fingers.”{{23}}[[23]]Ibid.[[23]] Mr. Armand’s presence awakens June to the sensual possibilities of her body, but the experience is isolated and predictably, goes nowhere.

Over the next few years, June enjoys platonic friendships with any number of men at college and in the newspaper offices where she finds employment. She even moves in with three jovial co-workers, to the horror of her mother. Despite the constant male companionship, however, she is quite clear that she feels nothing to compare to the physical effects of Mr. Armand. She avoids romantic relationships, insisting that sexual attraction as well as emotional sympathy be present. June is a quintessential New Woman, in that her relationships with men are solely a matter of preference. Since she supports herself through writing, marriage possesses no financial incentive for her and thus she literally can afford to wait.

When she does meet a man who attracts her, Dick Wemys, she is frank about her sexual hopes. “He gave himself three months to stay in the hospital. June gave him three months in which to seduce her.” Dick works as an orderly at the hospital where June trains during the influenza epidemic. With no intentions of marring June, he would have been termed a rake had the book been written fifty years before. In the frank sexual expressionism of June’s world, however, he admits his devious plans up front. “”I love you, June. I love you more than anything in the world, today. But I can’t say how I’ll feel tomorrow.”{{24}}[[24]]Ibid.[[24]] June accepts his lack of commitment and plunges ahead with the relationship. She doesn’t just love, she flirts, engaging in playful talk about sex. “I’m a demi-vierge,” she informs Dick coyly.{{25}}[[25]]Ibid.[[25]] When they discuss the future, it is in terms of her physical submission to him, rather than any plans for marriage, children, or future adventures. After he announces he is leaving the hospital, he invites her to live with him temporarily—the temporary is emphasized, as is the physical nature of the request, when he shoves a card with his address in between her breasts. June’s arrival at his apartment signals to both of them the end of her virginity, which is subsequently lost discreetly, but clearly, in a break between two paragraphs.

He looked as though he were suffering. If he would only take her, push aside this barrier of sex that was between them, he could grip hold of himself again. And [she,she] could     breathe easily once more and her heart wouldn’t ache so in her breast. To get the first pain over with! She bit his neck contemplatively.

He shook her so suddenly that she cried out, started, and then noticed that it was very still and quiet. When he turned town the lamp there was only the painful thumping of her  own heart.

Later in the evening, June sat cross-legged on the bed in a pair of pajamas which were far too big for her and ate with a great deal of relish an anchovy toast sandwich and stuffed olives. She felt very young and childlike.{{26}}[[26]]Ibid.[[26]]

Despite the frankness of June’s sexual enjoyment, the book harbors no illusions as to the nature of their relationship. June’s sexual freedom does not translate into sexual equality. For the first time since leaving home, she stops working, at his direct request. “‘While you’re mine, you’ve got to be all mine, so you needn’t have any interests outside of me.’”{{27}}[[27]]Ibid.[[27]] Dick’s love is violent, possessive, and controlling. June finds herself lying to please him, “You’re nothing but a damn little fool so don’t you dare tell me Conrad knows how to write a story. I tell you he doesn’t so you might as well shut up.”{{28}}[[28]]Ibid.[[28]] She wasn’t even allowed to look as if Conrad could write novels. She secretly goes ahead and reads all she pleases. While it had been up to her to yield her virginity, he dictated the subsequent terms of the relationship, reserving the right to decide alone when it would end. He also warned her that he would leave immediately should she become pregnant, which indeed, he does, even though she has an abortion. Christine Stansell notes, “Paradoxical, self-deluding, sometimes harmful: without question there was a dark edge to sexual modernism.”{{29}}[[29]]Stansell 267.[[29]]

June’s abortion is rendered in graphic terms. Day is as frank about June’s bodily reaction to pain as she had been about its receptivity to pleasure.

One pain every three minutes. How fast they came! It seemed that the moments of  respite could be counted in seconds. The pain came in a huge wave and she lay there writhing and tortured under it. Just when she thought she could endure it no longer, the wave passed and she could gather up her strength to endure the next one.{{30}}[[30]]Ibid.[[30]]

There were few literary precedents for such a description, although the topic was proving to be incredibly popular among young writers, including Ernest Hemingway, and Dorothy’s friends Floyd Dell and Eugene O’Neil. Mr. Durant, a story by Dorothy Parker appeared the same year (1924) as did the incredibly successful novel The Green Hat, by Michael Arlen.{{31}}[[31]]I found this website on abortion in American and British literature immensely helpful: www.lesleyahall.net/literaryabortion.htm along with Gillette, Meg. “Modern American Abortion Narratives and the Century of Silence.” Twentieth Century Literature 58.4 (2012): 663–687. Academic Search Premier. Web. 30 Apr. 2015.[[31]] Theodore Dreiser’s American Tragedy was published in the following year. Over fifty more novels and short stories would tackle the controversial subject before 1945.{{32}}[[32]]Gillette 666.[[32]] While The Eleventh Virgin remains one of the least known of these works, it proves that Dorothy was at the forefront of the significant literary discourse surrounding illegal abortions, a discourse that privileged female bodily experience. The Eleventh Virgin ends shortly after June Henreddy’s abortion, so Dorothy allows her little time to reflect upon it. The morality of abortion nevertheless remained a significant theme in her later essays and articles, as I will discuss later.

Historian James Fisher writes that “The Eleventh Virgin showed that Day was not a novelist,” and Robert Coles calls the plot “wretched.”{{33}}[[33]]Coles 6 and Fisher 13.[[33]] I actually found The Eleventh Virgin highly enjoyable, if somewhat immature. The most charming aspect of the writing is Day’s own bemused attitude towards the melodramatic excesses of her heroine: “‘I’ve got to have you,’ she [June] told him [Dick]. ‘I love you. I do love you. It’s a fatal passion.”{{34}}[[34]]The Eleventh Virgin. The Dorothy Day Collection/The Catholic Worker. n.d. Web. n. pag.[[34]] There is a sense of fond reminiscence over June’s willingness to throw everything to the winds in the name of love, tinged with a growing bitterness as Dick’s behavior grows more untenable.

Coles, Fisher, and historian of American Catholicism Jim Forest frequently refer to it as her autobiographical novel and glean its pages for details of her early years. It is certainly tempting to read The Eleventh Virgin as a thinly veiled autobiography of Day’s early years in Greenwich Village, although I am loathe to place experiences in Dorothy’s own life on the sole evidence that they appear in the novel. Certainly June’s adventures in writing and politics mirror Dorothy’s own as she described them in The Long Loneliness. The book also embarrassed her after she became a well-known public figure. “There was a time that I thought I had a lifetime job cut out for me—to track down every copy of that novel and destroy all of them, one by one.”{{35}}[[35]]Coles 37.[[35]] At least some of the book did echo her own experiences. She revealed in letters and diaries that she did have an abortion during her relationship with Lionel Moise and preceding her marriage to Berkeley Tobey. As she related in The Long Loneliness, she sought spiritual solace during this time, and there are also hints of a kindling religious interest in the adolescent June, who rebels against the coldness of her parents by a passionate devotion to God, although once she leaves home she grows absorbed in other pursuits.

The Eleventh Virgin, however, documents sensuality rather than spirituality, and the heroine, at least, sees a clear separation between the two. As the adolescent June writes to a friend,

All these feelings and cravings that come to us are sexual desires. We are prone to have them at this age, I suppose. [The fifteen-year-old intoned piously.] But I think they are impure. It is sensual and God is spiritual. We must harden ourselves to these feelings, for God is love, and God is all, so the only love is of God and is spiritual without taint of earthliness.

Given that the subject of religion is then dropped in the novel, there is no sense that the author had reconciled them either.

With her daughter, ca. 1932.

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Conflict and Conversion

Dorothy’s next novel explores both the sensual and spiritual. She wrote the first chapters during 1932, when she had moved back to New York after working briefly in Hollywood as a screenwriter and then traveling for a year in Mexico. She had already converted to Catholicism although she had not yet met Peter Maurin and begun the Catholic Worker. Most of her time was spent writing for Catholic newspapers and magazines and working on the novel she would term both The Dispossessed and This Dear Flesh. As she describes those months in The Long Loneliness:

I was writing a novel. I have always been a journalist and a diarist pure and simple, but as long as I could remember, I dreamed in terms of novels. This one was to be about the depression, a social novel with the pursuit of a job as the motive and the social revolution as its crisis. There was to be the struggle between religion and otherworldliness, and communism and this-worldliness, replete with a hero and a heroine and scores of   fascinating characters. I put my own struggle and dreams of love into the book and was very happy writing it.{{36}}[[36]]Long Loneliness 161[[36]]

The Dispossessed documents the conversion to Catholicism of a young girl named Monica as well as her love affair with a Communist she knows she can never marry. As with The Eleventh Virgin, Day frankly explores the physicality of Monica’s desire. Monica has loved Nick ever since she moved into the apartment next to him as a little girl. But as she reaches adolescence, her love assumes a physical dimension. She doesn’t just love him; she desires him.

At this time Monica began to be obsessed with desire for him. When he was away, she saw him everywhere, in the line of head, the attitude of some stranger. She heard him in a   sudden soft laugh. The river noises and the heavy damp smell of the city those early spring days reminded her of walks they had taken, long wordless hours they had spent  together.{{37}}[[37]]The Dispossessed 65.[[37]]

Day employs metaphors of heat and hunger. Monica feels “hot within herself” and is “hungry to love.”{{38}}[[38]]The Dispossessed 60–61.[[38]] Her sexual awakening coincides with an equally passionate religious awakening. The only thing in her life that evokes the same level of emotion and physicality within her is Catholicism, which ironically means that she can never succumb to her desire for Nick. Her experiences of the depths of her faith resonate physically in her body, and Day employs similar language. One morning, Monica impulsively follows a young woman to Mass:

It was almost every Mass in the Italian Churches, and Monica sat during the Gloria in a maze of happiness. She did not know why she was happy, why this sudden glow of joy had come into her life. She felt waves of exalted thankfulness flooding her heart,a sudden intense consciousness of an all-loving God, and the need and hunger of the human   heart in its desire to serve Him to worship Him. The Mass satisfied her as it never had before. And somehow all this sudden realization was linked up with that girl, so still, so breathlessly still and radiant.”{{39}}[[39]]The Dispossessed 61.[[39]]

The two desires are intricately connected and spur each other to greater heights. “Monica’s love for Nick made her realize her faith, because young though she was, she recognized that a choice was being put up to her. She could not have him and her Church too.”{{40}}[[40]]The Dispossessed 59.[[40]] It is difficult for the reader to form an opinion one way or another regarding her choices, since each option stirs her equally to physical and emotional frenzy.

Monica sought refuge in her religion now, but she distrusted the softness of religious emotion during these hard times. It went hand in hand with the melting tenderness she was apt to feel at the thought of Nick. The joy and the faith which made it forbidden were too closely linked at these times in her mind. She was as unstable as a reed.{{41}}[[41]]The Dispossessed 65.[[41]]

Her torment expresses itself in the language of illness as well as yearning. “She felt that she was a woman with a sickness who had to cure herself.” To love is to experience passion. Passion, literally and figuratively equals suffering. It is impossible not to love and thus, not to suffer.

Unlike June Henreddy, Monica is a virgin and never speaks in terms of seduction. Marriage is the forbidden but desired outcome of her relationship with Nick. Although they cling to each other in dark corners, neither proposes going any further. Yet she is caught up in concerns about sin that June never experienced.

There came with this knowledge of her deliberate choice, the question of mortal sin. Even the thought of bodily desire (forbidden as it was in connection with Nick) was an act of unchastity in the sight of God and as such was mortal sin. Yet to have committed mortal sin . . . (it was that, – Oh God – it certainly was that) but it was not due deliberation or full       consent of the will. For blindly she had fought and struggled, praying daily, walking through the misty, fogbound streets, and how could it be full consent of the will when her lips were numb at the remembrance of his kiss, and her lips were stiff as she forced them on in a mechanical round of walking.{{42}}[[42]]The Dispossessed 65–66.[[42]]

Politics also stands in the way of the young couple’s happiness. Nick also desires Monica but feels an equal calling to Communism and believes he cannot distract himself with a wife and family. He dreads the thought of prison but is equally convinced that he must end up there. The two engage in mutual torment. “’Oh, Nick, Nick, I’m so glad to see you,’ Monica cried, her hands behind her back to keep them from clutching at him. He took hold of her shoulders and his hands were trembling. ‘

“‘You know how I feel, and I can’t stand it.’”{{43}}[[43]]The Dispossessed 81.[[43]] It is a love that cannot be born but equally cannot be ignored.

In Monica’s yearning for an unattainable love, Dorothy articulates the mystical longings that she would explore later in her spiritual writing. According to the brief plot summary she had drawn up for potential publishers, Dorothy had planned a happy ending for the pair, each with more suitable spouses. Nick would marry the Russian emigre Natasha while Monica would fall in love with and eventually marry Raoul, an upstanding architect and a friend of Nick’s. “All would be happy according to their lights.”{{44}}[[44]]The Dispossessed n. pag.[[44]] It is fitting, perhaps, that she never composed this ending, dropping the novel in 1933 when she began the Catholic Worker. The desire that coursed through Monica’s body could not be stilled in a contented marriage. The only cure for such desire was a lifetime committed to seeking, following the trail of an elusive lover into dark nights and lonely mornings.

Towards the end of the unfinished narrative Dorothy brings in another woman as a rival for Nick’s affections. The Russian emigre Natasha, unlike Monika, is a sexually experienced woman desperately in love with Nick. Despite his earlier disavowal of marriage, he proposes to her, as her loyalties are compatible with his politics. She relates a sad tale of a promiscuous past in Russia with uncaring lovers more devoted to the Revolution than to her, and then in New York living a hand-to-mouth existence working at a cabaret (which seems to be a euphemism for a brothel). Despite her experience, when it comes to desire, she and Monica speak the same language. Her love is starvation, misery, and desperation. Even in love and engaged, she experiences torment. Nick accuses her of enjoying her misery, and she responds in explanation, “It is difficult for a passionate woman to get over the habit of being passionate.” By passion, she means not only love, but the suffering that must accompany it. Monica must renounce Nick and Natasha will marry him, but to truly experience the weight of their choices, they both must suffer in love. We don’t know how the characters will develop but love as suffering and joy in renunciation are both themes that will inform the rest of her work.

1934 (original in New York World-Telegram and Sun Collection, Library of Congress).

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Love as Mystical Yearning

Dorothy’s post-conversion politics led her to conservative stances on issues such as abortion, birth control, divorce, and pre-marital sex, all of which she firmly condemned in her writings. These attitudes seem to represent a complete break from her earlier radical days when she had attended Margaret Sanger’s speeches, worked for Crystal Eastman, and stayed up nights discussing the merits of free love with John Reed and Eugene O’Neil. They also seem to contradict her own first writings which had expressed sexual desire freely regardless of marital ties and whose heroines had expressed regret only at the loss of love, not the loss of virginity or reputation. Her subsequent writing certainly appears to advocate a more traditional femininity in line with the Victorian family structure against which she had originally rebelled.

Her conversion seemed abrupt to those who knew her, but it followed years of seeking. In the years preceding her conversion, she felt increasingly drawn to the life of the spirit. In The Long Loneliness, she writes, “It seems to me a long time that I led this wavering life . . . . I felt strongly that the life of nature warred against the life of grace.”{{45}}[[45]]Long Loneliness 85.[[45]] She had also expressed these anxieties in The Eleventh Virgin when June Hendreddy declares that “the only love is of God and is spiritual without taint of earthliness.” Even though she was happily in love with Forster Batterham, she experienced emptiness and longing. They lived together in her cottage on Staten Island. It was the greatest happiness she had ever experienced but she still felt dissatisfied. In The Long Loneliness (1952), she articulates the idea of God as lover who drew her away from her Forster. She presents her struggle as a love triangle between herself, God, and Forster Batterham, Tamar’s father and the man she refers to as her common-law husband. “I wanted to die in order to live, to put off the old man and put on Christ. I loved, in other words, and like all women in love, I wanted to be united to my love. Why should not Forster be jealous? Any man who did not participate in this love would, of course, realize my infidelity, my adultery.”{{46}}[[46]]Long Loneliness 148.[[46]]

On a practical level, her conversion meant sacrificing a life that brought her much delight as well as stability after years of searching. Although Dorothy liked to refer to Forster as her husband, they were not married in the eyes of either the state or the church, and he refused to take those steps. A self-identified anarchist, he abhorred the institutions of both religion and marriage. As a Catholic, she could not live with him outside of marriage. Neither would yield. “To become a Catholic meant for me to give up a mate with whom I was much in love. It got to the point where it was the simplest question of whether I chose God or man.”{{47}}[[47]]Long Loneliness 140.[[47]] It is hard not to read Monica’s struggle with a love incompatible with a burgeoning faith as a reenactment of Dorothy’s own. Monica and Nick had begged each other to relent; in similar ways, Dorothy and Forster argued back and forth for almost ten years. She left him and moved to Hollywood and then to Mexico and then to Florida. He visited her occasionally to rekindle their relationship but refused to marry her. She begged him in tones alternating between seduction and despair to marry her and accept her Catholicism. In 1929 from California: “I wish you would give in. I can assure you that I would not bother you and your own opinions as long as you granted me religious liberty—that is, me and the numerous other children we’d have.”{{48}}[[48]]All the Way to Heaven 40.[[48]] In 1932: “Aren’t we ever going to be together again, sweetheart? . . . I do not see why you can’t let me and Tamar be Catholics and be happy with us just the same. You know I love you, and I always think of us belonging together in spite of us being four years apart.”{{49}}[[49]]All the Way to Heaven 56.[[49]] She didn’t give up until she met Peter Maurin and threw herself into beginning the Catholic Worker. When she wrote to Forster in December, 1932 that “I have really given up hope now, so I won’t try to persuade you any more,” she meant it. She wouldn’t write to him again until the 1950s.{{50}}[[50]]All the Way to Heaven 63.[[50]]

After she gave up hope of reconnecting with Forster, she politely but firmly put a stop to any romantic attentions and declared herself a celibate. In the 1940s, Ammon Hennacy, a former Mormon turned Catholic anarchist who had thrown himself wholeheartedly into the Catholic Worker movement became captivated by her. She fended off his advances, writing, “I have a great love for you of comradeship but sex does not enter into it.” {{51}}[[51]]All the Way to Heaven 216.[[51]] And later: “When one is celibate, one is celibate. There is no playing around with sex.”{{52}}[[52]]All the Way to Heaven 216.[[52]] He evidently still thought of her in terms she considered inappropriate when in 1953, he sent her a copy of his memoir (later titled The Book of Ammon) which she returned with pages cut out of it, pleading that such thoughts did not become their age. “It is next to impossible to write about such love of people in their sixties without either seeming ridiculous or revolting.”{{53}}[[53]]All is Heaven 275.[[53]] It is unclearly exactly why she turned towards celibacy, especially considering that she still lived very much in the world. She is clear that she did not do so out of a distaste for sexual love. “It was not because I was tired of sex, satiated, disillusioned, that I turned to God. Radical friends used to insinuate this. It was because through a whole love, both physical and spiritual, I came to know God.”{{54}}[[54]]Long Loneliness 140.[[54]]

Day at Maryfarm, Easton, PA, ca. 1938.

Although certainly after her struggles with Lionel and Forster, it is conceivable that she could have been fed up with noncommittal men. In 1947, she wrote angrily to a disgruntled Catholic Worker volunteer: “I should be used to men failing me. I’ve had to bring up a child alone and I’ve certainly seen more than my share of the gross and selfish in men. I’ve had many men love me but few protect me.” Although she never explicitly states this, possibly she felt the need to atone for what she considered her early promiscuity. Guilt over her behavior, especially her abortion, haunts her diary entries.

Robert Coles asked her why her she had chosen to end her romantic life at such a young age. For one who positioned sexual pleasure in the heart of the Catholic marriage and who eschewed what she termed Jansenism (a manichean distaste for the physical), why give up such a part of herself and her past? She answered him in a series of roundabout conversations. “When I fell in love with Forster I thought it was a solid love . . . that I had been seeking. But I began to realize it wasn’t the love between a man and a woman that I was hungry to find. . .”{{55}}[[55]]Coles 61.[[55]] In a similar vein, she wrote to Ammon Hennesy that “the whole direction of our thoughts should be to increase in the love of God. It is only in giving up a thing that you can keep it; it is only by such a sacrifice on your part that love can be beautiful and holy.”{{56}}[[56]]All is Heaven 275.[[56]] In much of her post-conversion writing, love becomes directed entirely towards God in a complete mysticism. For Dorothy, nothing but God’s love would suffice.

Yet desire never loses its place in her language, describing both a longing for physical contact as well as the presence of a transcendent force. After her conversion, she reinterpreted her understanding of humanity to include both body and soul conjoined together, per God’s design. Hence the sacral nature of sex: “One cannot properly be said to understand the love of God without understanding the deepest fleshly as well as spiritual love between man and woman. The two should go hand in hand. You cannot separate the soul from the body.”{{57}}[[57]]Duty of Delight 29.[[57]] She devoted her whole self to seeking God as she would a lover, and that search took the place of romantic human love. She told Robert Coles: “My conversion was a way of saying to myself that I knew I was trying to go someplace and that I would spend the rest of my life trying to go there and try not to let myself get distracted by side trips, excursions that were not to the point.”{{58}}[[58]]Coles 64.[[58]] A husband or lover would be beside the point in her mystical journey.

In Dorothy’s spiritual writings, she beautifully articulates the sacramental nature of marriage and the centrality of sexuality in marital relationships as “a foretaste of the beatific vision.”{{59}}[[59]]On Pilgrimage 132.[[59]] “The intense pleasure and delight in the act itself may be like a sword piercing the heart.”{{60}}[[60]]“Reflections during Advent” 20.[[60]] Sex is the actual sacrament embodied in matrimony, as opposed to the vows. “It is not the promises that make the marriage. The vows are exchanged at the altar; the marriage is the embrace itself.”{{61}}[[61]]On Pilgrimage 206.[[61]] On a practical level, she argues, then, that the church needed to emphasize the significance of marital relations and to avoid the “Anglo-Saxon Jansenism,” that caused people to shy away from such discussions. “ . . . It is time indeed that there should be more talk on the subject of sex and marriage on the part of Catholics.”{{62}}[[62]]On Pilgrimage 132[[62]] She refused to read the Kinsey report but was nonetheless fascinated by its willingness to bring sex into popular conversations, an inclination she argued that contemporary religious writing lacked.

It is because sex is “the most deeply wounded of all our faculties” since the Fall. In sex, body and spirit are so interwoven, so attuned, so single-minded, so concentrated, and so alive. It is in sex love that people catch glimpses of harmony and peace unutterable. That is why thwarting sex, unfulfilled marriage, is a tragedy often dealt with by physicians and psychiatrists. If the act, which is called by St. Paul “the marriage debt” is not paid generously and to the full people are warped and nerve-wracked, curiously  askew.

The language of desire occupied a permanent place in her writing, but in her post-conversion writing the force of it was directed back to divine union. In On Pilgrimage, The Long Loneliness, and her many letters, diaries, and articles, she explores the theme of Christ as lover, a literary path previously trod by Dorothy’s favorite saints, Catherine of Siena, Theresa of Avila, and Therese of Lisieux as well as other great mystics whom she admired. In Dorothy’s voice, the image takes on a modern and realistic meaning. The joys are not metaphorical, and the bodily effects speak to actual memories. For the medieval mystics, the language of sexual ecstasies only existed on a metaphorical plane. For Dorothy, it as the realistic humanity behind the words that renders them meaningful—“It is because I am not now suffering that I can write, but it is also because I have suffered in the past that I can write.”{{63}}[[63]]On Pilgrimage 227–228.[[63]] It was precisely because she had known the sweetness of a whole love, body and soul, that her act of renunciation was so precious. “The best thing to do with the best of things is to give them to the Lord,” she wrote in her diary decades after her conversion, “and note that fleshly pleasure if not isolated from mind and spirit is not here labeled sin, but called ‘the best of things.’”{{64}}[[64]]Duty of Delight 505.[[64]] So her bridal mysticism loses the morbid aspect of the medieval saints that she admired and appeals to a twentieth and twenty-first century sensibility. It makes sense that in Augustine of Hippo, another great lover of the flesh who nevertheless turned his heart to God, she found great inspiration and quoted frequently in her Catholic Worker articles. Sexual desire between humans was both a piece of and a reflection of God’s love, not divorced from it. Human love was the overflow of God’s love.

Religious historian James Fisher declared that she “came to espouse one of the most abject brands of self-abnegation in American religious history,”{{65}}[[65]]Fisher, 1.[[65]] and referred to her religious interpretations as “bleak.”{{66}}[[66]]Fisher, 2.[[66]] His interpretation denies the joyful earthiness of her spiritual writing. Dorothy never turned away from the reality of flesh, delighting in her body even when it sickened and aged, so that she could write on Valentine’s Day, 1944 in her diary:

But this aging flesh, I love it, I treat it tenderly, but also rejoice that it has been well used, that was my vocation—a wife and mother, I gave myself to husband and children, my flesh well used, droops, my breasts sag, my face withers, but my eyes and lips rejoiced and love and laugh with happiness.{{67}}[[67]]Duty of Delight 81–82.[[67]]

Flesh was both her “enemy” and her “dear companion on this pilgrimage.”{{68}}[[68]]Duty of Delight 81.[[68]] Her acknowledgement and appreciation of bodily realities represents one of the strongest continuities throughout her writing. At the age of eighty-two, she declared firmly in her diary, “I am a sensual woman.”{{69}}[[69]]Duty of Delight 688.[[69]]

Day serving soup to Franciscans at Detroit Catholic Worker, ca. 1951.

.

An Unwilling Feminist

She never retired, writing articles until her death at the age of eighty-three. Her continuing engagement with current affairs required her to confront the changing social mores of the 1960s and 1970s. The Catholic Worker could not remain static if it wanted to remain relevant. As its original members aged, the organization relied on a steady influx of younger volunteers. Dorothy treated these younger colleagues with the same mixture of amusement, concern, and bewilderment, that she showed her nine grandchildren. The young girls of the CW attended Woodstock and excitedly reported back to her. “They had a weekend of rain. Sounded like a nightmare to me,” she wrote dismissively. Her perplexity was frequently softened by outpourings of compassion, as she found her bohemian youth reflected in their untempered idealism. “Aside from drug addiction, I committed all the sins young people commit today,” she wrote in 1976.{{70}}[[70]] Duty of Delight 602.[[70]] She disapproved of priests who approached the drugs and sex of youth culture with a lack of understanding. “No compassion for the young,” she dismissed an otherwise good sermon that had ended with a censure of Woodstock.{{71}}[[71]]Duty of Delight 488.[[71]] The anti-war demonstrators of the 1960s were near and dear to her heart, as they picked up the pacifism the CW had espoused since the 1930s. In 1965 she spoke at Union Square in support of men who burned their draft cards. In 1967 she attended the trials of anti-war demonstrators and helped raise money for their defense. She differentiated them from the young men and women she deemed to be “hippies,” whom she dismissed as spoiled rebels without any causes other than non-conformity. “I felt in view of the blood and guts spilled in Vietnam the soldiers would like to come back and kill these flower-power-loving people. . . . Middle-class affluent homes, they have not known suffering.”{{72}}[[72]]Duty of Delight 418.[[72]] In her warmer moments, she judged them foolish but lost, as she had been and as she knew her own progeny to be. “These are my children too, my grandchildren. Having so many grandchildren, I love . . .”{{73}}[[73]]Duty of Delight 411.[[73]]

Dorothy firmly maintained during the 1960s that she was not a “women’s-libber,” but she did conceive of marriage, motherhood, and the position of a woman in a family in radical ways, not unlike her Bohemian companions of the 1920s. She meditates on motherhood and marriage in On Pilgrimage, a book based on a journal she kept in 1948. She spent most of the year on a farm in West Virginia with Tamar who was pregnant with her third child, and her writing reflects her domestic setting. “Meditations for women, these notes should be called, jumping as I do from the profane to the sacred over and over. But then, living in the country, with little children, with growing things, one has the sacramental view of life.”{{74}}[[74]]On Pilgrimage 110.[[74]] On the farm, dealing with no running water, no electricity, no stores, and two small children, she found herself beset by household cares and unable to write, pray, or even think. She writes frankly about the lack of intellectual and creative stimulation mothers endured. On January 20, she writes despairingly, “What kind of an interior life can a mother of three children have who is doing all her own work on a farm with wood fires to tend and water to pump? Or the grandmother either?”{{75}}[[75]]On Pilgrimage 91.[[75]] In a similar vein, she complains on March 8, “If you stop to read a paper, pick up a book, the children are into the tubs or the sewing machine drawers. . . . Everything is interrupted, even prayers, since by nightfall one is too tired to pray with understanding.”{{76}}[[76]]On Pilgrimage 110.[[76]]

She compares the relative constraints of young mothers and fathers. Enviously watching her son-in-law exploring the woods, she admits “one cannot help but thinking that the men have an easier time of it. It is wonderful to work out on such a day as this, with the snow falling lightly all around, chopping wood, dragging in fodder, working with the animals. Women are held pretty constantly to the home.”{{77}}[[77]]On Pilgrimage 95–96.[[77]] In On Pilgrimage, she raises a theme that would haunt her writings for years to come—Tamar’s isolation and frustration as a young mother with a new baby practically every two years (nine children in eighteen years of marriage) and no intellectual outlets. “It is a lonely life for a woman with many small children. It is a life of solitude in city and village anyway, since a young mother cannot get out, but in town neighbors and friends can at least drop in.”{{78}}[[78]]On Pilgrimage 72.[[78]] Her correspondence with Tamar is rife with comforts and reassurances that rarely seemed to work. When Tamar longed to move back to New York so she could have more company, Dorothy warns her away because of the polio epidemic and the high rents. “Oh dear. I do know how lonely you are, but I do assure you that a mother with small babies is always lonely.”{{79}}[[79]]All the Way to Heaven 222.[[79]] She titled her book The Long Loneliness in part as a reference to the shared solitude of humanity. But she also meant to pay specific homage to the particular loneliness of women, both as young mothers isolated by the burdens of childcare and then later as older mothers bereft of their children. “Tamar is partly responsible for the title of this book in that when I was beginning it she was writing me about how alone a mother of young children always is.”{{80}}[[80]]Long Loneliness 243.[[80]] Dorothy realized, of course, that loneliness and anxiety were the bitter but necessary fruits of motherly love. “It is right for us to love our families, but oh the heartaches. But it is the cross, the saving Cross. We cannot have Christ without His Cross.”{{81}}[[81]]Duty of Delight 563.[[81]]

Tamar’s experiences, both her loneliness and her restlessness, paralleled Dorothy’s own as a young mother. She remembered herself as a young mother traveling from New York to Hollywood to Mexico and back again. “I was lonely, deadly lonely. And I was to find out then, as I found out so many times, over and over again, that women especially are social beings, who are not content with just husband and family, but must have a community, a group, an exchange with others.” That loneliness can stem from specific circumstances—Dorothy knew almost no one in Hollywood and likewise, Tamar lived in the country miles from a neighbor. But it also derives from social pressures and biological realities that isolate women in households. In a statement that stunningly echoes Betty Friedan’s work of the following decade, she continues by declaring that, “ A child is not enough. A husband and children, no matter how busy one may be kept by them, are not enough.” Women needed to create and seek outside the family structure. Even flush with love for her new baby, she had still been driven to write. Back in her cottage on Staten Island, still with Forster, her Catholic sponsor Sister Aloyisia had scolded her for sitting at her typewriter while the breakfast dishes piled high. Dorothy’s own conversion, for all that it that it represented a more conservative social stance, actually entailed an assertion of autonomy, radical in every sense.

Dealing with birth control, abortion, and free love were the most troubling aspects of the 1960s and 1970s for her, both because they conflicted directly with Catholic family doctrine and because they reminded her uncomfortably of her own youth. Her disapproval of birth control brought her into conflict with her sister Della, who volunteered at Margaret Sanger’s clinic and openly declared she would only have children she could afford to bring up and send to college. Dorothy writes in Della’s obituary: “When she went on to exhort me . . . that I should not urge, as a catholic, Tamar, my daughter, to have so many children, I got up firmly and walked out of the house, whereupon she ran after me weeping, saying, ‘Don’t leave me, don’t leave me, We just won’t talk about it again.’”{{82}}[[82]]Day “On Pilgrimage” The Catholic Worker, May 1980.[[82]] Her advocacy of marriage without birth control continually warred with her championing of female independence. Had she remarried and given birth to more than one child, her ability to travel the country and write would have been greatly curtailed. In 1973 she wrote to Sidney Callahan, a professor of psychology at Mercy College, “I feel badly at seeing formerly happy women friends bitter and angry at all they have suddenly discovered they have suffered. And they get angry at me for not being angry.”{{83}}[[83]]All the Way to Heaven 523.[[83]] Yet even though she disliked the label of feminist, she continued to be attracted to the ideals they championed. She disapproved of bishops who were “more concerned about [birth control] than war.”{{84}}[[84]]All the Way to Heaven 378.[[84]] By 1979, after hearing Dr. Marian Moses speak, she admitted there was validity to the feminist critique of the papal stance on birth control and abortion. “She is a strong feminist. I am not, tho I can see all the problems.”{{85}}[[85]]The Duty of Delight 673.[[85]]

Interestingly enough, while her disdain for birth control seems like mere unquestioning acceptance of Catholic dogma, on a few occasions she expresses her belief that birth control harmed women in particular, as it allowed men to escape marriage and responsibility. “Sex is a gigantic force in our lives and unless controlled becomes unbridled lust under which woman is victim and suffers most of all.”{{86}}[[86]]The Duty of Delight 409.[[86]] The sexual revolution seemed to give men license to leave their wives, which she witnessed frequently in the CW. Divorced women with small children took refuge as part volunteers and part boarders. “Dear God, help me not to judge people harshly. But men certainly take advantage of women more than ever these days.”{{87}}[[87]]Duty of Delight 578.[[87]] Her critique of the sexual revolution sounded a familiar feminist note. As Ruth Rosen explains in The World Split Open, men happily exploited women’s newfound sexual availability. “If sex was free, where did you draw the line?” She related the tale of one woman in a Washington D.C. consciousness-raising group who lamented that “the sexual revolution is making me miserable,” because “I’m not supposed to be jealous” when her husband cheated on her with “everything in sight.”{{88}}[[88]]Rosen 143–195.[[88]]

Thirty years prior, Dorothy had angrily accused Forster of just such flippancy in their relationship when he refused to marry her.

You have always in the past treated me most casually, and I see no difference between     [our] affair and any other casual affair I have had in the past. You avoided, as you admitted yourself, all responsibility. You would not marry me then because you preferred the slight casual contact with me to any other. And last spring when my love and physical desire for you overcame me, you were quite willing for the affair to go on, on a weekend basis.{{89}}[[89]]Day, All the Way to Heaven 61.[[89]]

In a roundabout way, she argued that birth control allowed for promiscuity, which created an easy escape from marriage, which was the ultimate sacrament. Given her experiences with Forster and Lionel Moise, perhaps Dorothy assumed most men would avoid marriage if offered sex and most women would choose it. The legalization of abortion after Roe v. Wade in 1973 struck close to home. “Does the changing of laws—the Supreme Court decision—do away with this instinctive feeling of guilt? My own longing for a child.”{{90}}[[90]]Duty of Delight 564[[90]]

The separation of love and sex troubled her, not only because it led to the dissolution of marriage but because of its ubiquity, even in the sanctuaries of the Catholic Worker homes and farms. It overwhelmed impulses for pacifism and charity that she tried to hone in new workers. “What to do about the open immorality (and of course I mean sexual morality) in our midst. It is like the last times—there is nothing hidden that shall not be revealed.”{{91}}[[91]]Duty of Delight, 522–523.[[91]] She worried that contemporary thought urged people to succumb to their desires. “[They say] why does God implant in us these instincts and then punish us when we satisfy them? God made all things to be enjoyed. Enjoy! Enjoy!”{{92}}[[92]]Duty of Delight 525.[[92]] Her conversion was based on denial of instinct; she relied on discipline and prayer to strengthen her resolve when old temptations beckoned. She had renounced love only to find a deeper love and a greater life. She found something vacuous about those who searched without sacrifice. “My heart aches for them, they are so profoundly unhappy. Their only sense of well-being comes from sex and drugs, seeking to be turned on, to get high, and to reach the heights of awareness, but steadily killing the possibility of real joy.”{{93}}[[93]]Duty of Delight 532.[[93]]

Yet Dorothy believed in love, even if it was free. Despite her adherence to Catholic moral teaching, she couldn’t condemn a relationship in which love had sprung up between two people, even if the love lacked sacrality. “Birth control, abortion, free love—all in the name of love. . . . The hunger for human love, how beautiful in marriage and renunciation, too. But it is always to be respected, even in all these free unions, even in all these sad searchings . . .”{{94}}[[94]]Duty of Delight 416[[94]] As the seventies crawled on, her own and the century’s, the world continued to change, and she insisted on reexamining her priorities and values. Old friends and colleagues started coming out as gay and she strove to understand what the church condemned. When two of her female friends confessed to her they were lesbians, she sought back into her past to remember moments of similar feeling—again, she strove to co-suffer—she remembered a girl in high school who inspired her—”I never knew her name or anything about her but in a way she cast a light about her.” She also recalled a young Polish woman who reminded her of the Virgin Mary whom she met when she first went to Communion (a scene that appears in The Dispossessed). “How contemplation of that Polish girl deepened my faith!”{{95}}[[95]]Duty of Delight 589.[[95]] Could love ever be wrong? Without the grace of God, it could lead to temptation and temptation, but that was just as true, she argued, for any kind of love. “Unbridled sex, practiced today in every form or fashion,” was certainly worthy of censure, but love itself could only deepen understanding. “I mean that one must be grateful for the sate of ‘in-love-ness’ which is a preliminary state to the beatific vision, which is indeed a consummation of all we desire.”{{96}}[[96]]Duty of Delight 590.[[96]] She seemed to take a particular dislike to drugs, probably because they were unfamiliar, possibly also because they reminded her of her own drinking days, which embarrassed her. Maybe because both of those things were forms of escape from the sorrows of the world, but sorrow was suffering and suffering was love. It was only when she embraced suffering that she found joy. It had happened once, at the great moment of her conversion, and it continued to happen every day in moments of struggle. “To love is to suffer. Perhaps our only assurance that we do love God, Jesus, is to accept this suffering joyfully! What a contradiction!”

With grandchildren ca. 1958.

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The Hard Work of Loving

While Dorothy worked out her ideas on feminism, women, sex, and love in her writing, she was also putting her ideas on charity into action. She viewed herself as a writer, frequently declaring that writing brought her the greatest joys in her life. But very little of her day was actually devoted to writing. It couldn’t be. She was the heart of a network that fed, clothed, and sheltered hundreds of people every day. The Catholic Worker was a unique organization in that it operated as a newspaper, a soup kitchen, and a shelter, all within the same few rooms. “The trouble with the CW is that one is so busy living there is no time to write about it.”{{97}}[[97]]Duty of Delight 268.[[97]] Dorothy and the other CW volunteers lived and ate alongside the alcoholics, the prostitutes, and the unemployed whom they sheltered. She wrote to support them as much as she did for personal fulfillment, and even then, she wrote only in moments stolen from brewing coffee and boiling soup for the lines of men and women that wove around the block even years after the Depression had ended, not to mention lending them a sympathetic and non-judgmental ear when necessary. She frequently found the latter task the greatest challenge. As she chronicled in her diaries, the poor can be incredibly unpleasant. They vomited in the stairwells, stole money for drugs, swore, cursed, and sometimes screamed late into the night. This indeed was the hard work of loving she wrote about. How to love the unloveable? She knew the answer—she had to see Christ in each one of them. But how difficult that was in practice. She admitted that at times she found the poor “repellant.”{{98}}[[98]]Duty of Delight 63.[[98]]How could you look into the dull eyes of an alcoholic or a schizophrenic raging in madness and see God inside them? How could you summon a vision of Christ when you dwelt in Hell? “. . . To be present, to be available to men, to see Jesus in the poor, to welcome, to be hospitable, to love. This is my need. I fail every day.”{{99}}[[99]]Duty of Delight 291.[[99]]

She was rarely rewarded, but the moments when she received gratitude must have been incredibly perfectly sweet. Edward Breen was an especially hard case who could and (should Dorothy’s canonization process prove successful) literally did try the patience of a saint. In 1935, she wrote to her friend Catherine, “Will you please pray real hard for a Mr. Breen who is at the present moment my greatest and most miserable worry? . . . He won’t be comfortable . . . and he, after all, is Christ.{{100}}[[100]]All the Way to Heaven 97–98.[[100]]” He yelled racist epithets at the staff and insisted he hated them all. But he stayed at the house until his death in 1939, and she persisted in her attentions to him. When she went traveling, she wrote him affectionate letters telling how proud she was of his improved behavior.

…..Dear Mr. Breen, This is but a note to tell you to be good and to be happy even though it means a great effort of will. I know you haven’t been feeling well, you poor dear, but take care of yourself, and try to keep calm and peacable in mind, and you will make me happy. I know things become very hard and disagreeable at times, but just offer it up for my intention.”{{101}}[[101]]All the Way to Heaven 124.[[101]]

And the difficult Mr. Breen was just one person of the hundreds she dealt with in the 1930s. Dorothy interacted with his equally stubborn sucessors every day until her death at eighty-three, because she never stopped living at the Catholic Worker shelter. Throughout those years, she frequently gave up even her room to people in need of shelter. She ate whatever they ate, however plain, and found her own clothes in the donation bundles so that she could devote her income to them. From her diary in 1944:

I darn stockings, three pairs, all I possess, heavy cotton, grey, tan, and one brown wool,    and reflect that these come to me from the cancerous poor, entering a hospital to die. For ten years I have worn stockings which an old lady, a dear friend, who is spending her declining years in this hospital, has collected for me and carefully darned and patched.   Often these have come to me soiled, or with that heavy hospital smell which never seemed to leave them after many washings. And the wearing of these stockings and other second-hand clothes has saved me much money to use for running of our houses of hospitality and the publishing of a paper.{{102}}[[102]]Duty of Delight 77.[[102]]

Perhaps because of my own love of new clothes, and perhaps too because I know Dorothy shared it, this passage affects me greatly. Whenever I face the hard work of loving, I think about Mr. Breen and the mended stockings and the sacrifices they represented for her. Dorothy’s anguish is my salvation, because if the woman who created the Catholic Worker Movement sometimes found people unendurable, how much hope is there for the rest of us!

Reading at the farm, ca. 1937.

Some of Dorothy’s writing disappoints me. I have wished I could write an essay about how her feminist convictions strengthened over time and only became more radical, in the commonly accepted sense of the word. That she strode seamlessly from New Womanhood to Women’s Liberation. I admire so much her refusal to live her life on any one else’s terms. To me, it is such a shame that she condemned her own courageous behavior as sinful and glossed over everything that didn’t fit into her Catholic moral narrative. She had defied convention by living with Forster Batterham without marrying him, yet later she conveniently decided they had been “common-law” married. That the “common-law” marriage was a later invention is made clear in letters from the 1920s when she described Tamar as his illegitimate daughter. It seems like she was a radical before the world was ready who then retracted by the time the world caught up with her. I suppose my acknowledgement of her faults is important because otherwise I would be limited to hagiography in writing about her. I would rather approach her as she was, which was human, and therefore, flawed. Even in her flaws, however, I find her appealing, because for all her harsh rhetoric, she was uniquely flexible in her ability to adapt, forgive, and accept. Her sister Della, who remained her best friend until the end of her life, worked for Margaret Sanger. Tamar’s marriage ended in divorce and she and most of her children rebelled against Catholicism, so that several of Dorothy’s great-grandchildren were born out of wedlock and most never baptized. Dorothy accepted all of these blows to her faith, sometimes with sadness, but never withdrawing affection. She continued to act as a loving mother and grandmother, supporting Tamar emotionally and financially. And remarkably, in the 1950s she reconnected with Forster and helped nurse his live-in mistress (he had stubbornly adhered to his anti-marriage stance) through cancer. What touches me most is a letter Dorothy wrote in response in 1973 to a young girl in distress because of an abortion:

I’m praying very hard for you this morning, because I myself have been through much of what you have been through. Twice I tried to take my own life, and the dear Lord pulled me thru that darkness . . . My sickness was physical too, since I had had an abortion with    bad after-effects, and in a way my sickness of mind was a penance I had to endure.

But God has been so good to me—I have known such joy in nature, and work—in writing, as you must get in your painting—in fulfilling myself, using my God-given love of beauty and desire to express myself. . . .

Again, I beg you to excuse me for seeming to intrude on you in this way. I know that just praying for you would have been enough. But we are human and must have human contact if only thru pen and paper. I love you, because you remind me of my own youth, and of my one child and my grandchildren.

When I read how tenderly she responded to others, I realize that she reserved her harshest criticism for herself and that the only sins she refused to forgive were her own.

In complicated situations, I actually do ask myself, what would Dorothy do? I don’t mean this in a sentimental way and I certainly don’t think she was perfect or would have all the answers even could I magically commune with her. I ask this question precisely because I know that she was flawed and that she understood imperfection to be the human condition. When I waver in faith or love, I think she would tell me to forgive the flaws in my fellow humans as well as myself and to treasure those flaws as the mark of the divine. A friend of mine, in the process of an unpleasant divorce, told me he had begun to forgive his wife for her years of cruelties, because he started to recognize aspects of her in his daughter, whom he loved wholeheartedly. If he loved the weaknesses of one, how could not love them in the other? Our flaws stem from our creator, and if we love him we must love his designs, which is to love each other. “The final word is love,” Dorothy declared, over and over, in articles and letters. She loved with passion, a habit she could never cast off. “We should be fools for Christ,” she also wrote frequently. Dorothy formed a foolish and passionate love wide enough to embrace the entire body and creation of God. She loved the poor, the tormented, the almost unloveable. She even, bless her heart, loved the non-believers, which includes myself. “For those who not believe in God—they believe in love.” I don’t know if I believe in God but I know I believe in Dorothy—her message, her words, her acts of charity in a dark world.

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Laura Michele Diener teaches medieval history and women’s studies at Marshall University in Huntington, West Virginia. She received her PhD in history from The Ohio State University and has studied at Vassar College, Newnham College, Cambridge, and most recently, Vermont College of Fine Arts. Her creative writing has appeared in The Catholic Worker, Lake Effect, Appalachian Heritage,and Cargo Literary Magazine, and she is a regular contributor to Yes! Magazine.