Jul 022017
 

Author photo by Jada Lillo

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Introduction to an introduction

In her introduction to the 1989 edition of Best American Short Stories, Margaret Atwood describes her selection process. In this essay, called “Reading Blind,” Atwood talks about the “voice of the story,” an elusive quality she defines as “a speaking voice, like the singing voice in music, that moves not across space, across the page, but through time” (xiv). I’m fascinated by this idea of time as narrative’s medium, like a painter’s oils or a potter’s clay. Of course, the narrative voice doesn’t travel through time with only the writer for company; narrative needs readers. If narrative is “a score for voice” (xiv), as Atwood claims, then the reader’s imagination is the instrument.

However, narrative is not music, and the reader’s task of reading this score for voice is more haphazard than a musician’s experience of reading a musical score and performing a song. A musician performs a song after hours of practice, after absorbing the music as muscle memory. In contrast, the reader imagines a narrative voice at the pace of the words on the page. With novels this pace can span days or weeks. To account for this difference, Atwood shifts metaphors in her essay and describes reading as follows:

[From] these scraps of voice . . . we [the readers] patch together for ourselves an order of events, a plot or plots; these, then, are the things that happen, these are the people they happen to, this is the forbidden knowledge. (xv)

The familiar elements of plot are here, but what is this “forbidden knowledge?” And what might this forbidden knowledge have to do with narrative’s medium, time?

Atwood’s essay does not address these questions. Instead, she concludes her thoughts by finding a unifying factor in all the stories she chose for the anthology. For Atwood, this factor is a “sense of urgency. This is the story I must tell; this is the story you must hear” (xviii).

For a long time these ideas have rattled around in my head: narrative’s medium is time; narrative is a score for voice; stories share forbidden knowledge; narrative must be urgent, compulsive, imperative. If I accept Atwood’s observations then what does that mean for the novel I’m writing? What do these criteria look like on the page? How do writers create this elusive voice of the story, and most importantly, how can I do this myself?

Margaret Atwood Best American Short Stories collage_1

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Character thought: a crash course

At first the answer to my questions appears simple. In the context of a first-person narrative, every word, gesture, image, idea generates from the character. Technically speaking, first-person novels are all character thought. However, as readers of first-person novels, we have felt how this reading experience differs from reading other first-person accounts: letters, journals, interviews. And what does a novel have that these other modes of discourse lack? The answer—character thought—seems simple, which should have been my first clue that I had a lot to learn. In a section called “Novel Thought” in Douglas Glover’s Attack of the Copula Spiders, Glover gives an excellent crash course on the subject, which I’ll quote and paraphrase here, but I recommend a full reading. To begin his discussion Glover describes character thought as “stylized and systematic, unlike real thought” (12); he also says character thought “functions by concentrating on time and motive” (12); finally, character thought occurs within the point-of-view character’s mind (14).

Stylized and systematic language, time and motive from inside the point-of-view character’s head are just the beginnings. For example, Glover continues his analysis by elaborating on how writers use character thought. First, character thought looks back, “remembering where [characters] have been and why they have come to where they are . . . obsessively” (12). Also, characters constantly “[assess] where they are now . . .” (12), even though “they don’t have to be right in their assessments, they just have to be true to themselves in the context of what’s gone before” (12); finally, characters must “[look] ahead” [12] and decide what actions to take based on what’s happened before (13). Here is a partial answer to the question about how writers work with time: characters project into the future, evaluate the present, and reflect on the past.

But what makes these temporal gestures both “stylized” and “systematic?” How does character thought distinguish itself from the other elements of first-person narration? While Glover’s descriptions of character thought provide a significant starting point, I couldn’t answer my questions without returning to the original teachers: books.

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Categories of character thought

I identified four approaches to character thought. As with most things to do with writing, these are broad categories that often overlap and are not intended to be proscriptive. However, throughout the novels I studied this semester, I encountered these patterns again and again, with each author implementing these approaches in idiosyncratic ways. As I read and studied, I noticed that each of these approaches provides some insights or intuitions about my questions related to the first-person voice and character thought. The categories are as follows:

  1. Direct Statement: the author uses signal phrases, such as “I thought,” “I wonder,” “I understand,” etc., to transition into a direct statement of the character’s thoughts.
  2. Indirect Statement: the stylistic use of diction with powerful, personal connotations—often times, indirect statement happens at the adjective, noun, and verb level.
  3. Comparative Language: metaphor, simile, analogy create opportunities for character’s to reveal their thoughts in a dynamic, stylized way; in addition to figurative language, comparative language happens in the syntax (through devices like antithesis) and in the content.
  4. Parenthetical Expression: character thought set off between commas, dashes, parentheses; these expressions interrupt the normal syntactical flow of the sentence and often shift the tone, which of course reveals the character’s attitude toward the subject matter

With these general categories in mind, I’d like to look at the novels I read that formed my ideas about how writers use “systematic and stylized” character thought to create the first-person voice, work with narrative’s temporal medium, and reveal the forbidden knowledge of these stories.

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Discovering Cassandra

Christa Wolf’s 1983 novel Cassandra reimagines the story of Cassandra of Troy, Priam and Hecuba’s daughter who prophesies the downfall of her city, but Apollo’s curse ensures that people do not believe her visions. The frame story for this novel transpires in a matter of hours, beginning with Cassandra’s arrival at Mycenae and ending with her execution. However, the material of the novel ranges through different times in Cassandra’s life—her childhood as a member of the royal family, her adolescence as a priestess, her adulthood as social pariah, prisoner, and fugitive—; the chronology remains loose and is sometimes elusive, but by the ending I have a profound sense of Cassandra’s desires, how her actions and choices have shaped her life, what she believes and why. As a reader, I have gathered the scraps and stitched together the who and the what. I have discovered the forbidden knowledge. But how does Wolf’s writing make possible my reading experience? How does character thought work in this novel?

Cassandra cover image

Early in the text, Wolf makes it plain that forbidden knowledge is one of the overt subjects of this novel. Here is a representative passage, from pages four and five in the Jan van Heurck translation:

The same sky over Mycenae as over Troy, only empty. Shiny like enamel, inaccessible, polished, clean. Something in me matches the emptiness of the sky above the enemy land. So far, everything that has befallen me has struck an answering chord. This is the secret that encircles and holds me together; I have never been able to talk of it with anyone. Only here, at the utter-most rim of my life, can I name it to myself: There is something of everyone in me, so I have belonged completely to no one, and I have even understood their hatred of me. Once “in the past”—yes, that’s the magic word—I tried to talk about it to Myrine, in hints and broken phrases. Not to obtain relief, there was no relief; but because I believed I owed it to her. Troy’s end was in sight, we were lost. Aeneas had pulled out with his people. Myrine despised him. And I tried to tell her—no, not just that I understood Aeneas; that I knew him. As if I were he. As if I were crouching inside him, feeding in thought on his traitorous resolves. “Traitorous,” said Myrine, angrily raining ax blows on the undergrowth in the trench surrounding the citadel, not listening to me, perhaps not even understanding what I said, for since I was imprisoned in the basket I speak softly. It is not my voice that suffered, as they all thought. It is the tone. The tone of annunciation is gone. Happily gone.

This passage begins with comparative language—Mycenae’s sky versus Troy’s sky. This comparative gesture begins with a clear declarative: the skies are the same. However, Wolf quickly moves into a qualification of the similarity. Mycenae’s sky is emptier, shinier, and these qualifications become more precise through another layer of comparison: the simile linking sky to enamel. Through the use of comparative language, Wolf works within narrative’s temporal medium: Mycenae’s sky is now, Troy’s sky was then. The character’s present and past are connected through both similarity and difference, accomplishing one of Glover’s dictums about character thought. The character both assesses the present and reflects on the past in this example.

Next, Wolf continues her stylized construction of character thought through an extension of the previous comparative gesture. However, this extension changes the comparative terms, with Mycenae’s sky now connected to Cassandra’s self—she matches this “sky above the enemy land.” Through this comparative gesture, Wolf characterizes Cassandra, not as others have seen her and portrayed her in art through the millennia, but as Cassandra sees herself. Whether or not she is accurate in this self-assessment does not matter, as Glover asserts, but this self-assessment must show the character as true to herself.

While comparative language demonstrates the “stylized” nature of character thought, the next three sentences develop through direct statement. The “systemized” nature of character thought demands this change because the previous comparatives set up the necessity. For self-assessment to function as character thought, the narrative must show Cassandra’s fidelity to herself. In these sentences, the shift from comparative language to direct statement occurs with the signal phrase, “So far . . .” This signal phrase introduces an idea Wolf develops through a series of sentences, all self-evaluative, all connecting Cassandra’s now to her past. Also in this series, Wolf announces a portion of her subject matter: Cassandra’s “secret.” This secret has to do with Cassandra’s power, not as a prophetess, although that’s part of it, but as a woman, as herself.

Included in the edition I read are four essays Wolf calls, “Conditions of Narrative.”  In the final essay, which is actually a letter, Wolf talks about this thematic concern—what is Cassandra’s power?—not as I would when teaching high school English, but as a writer who is still discovering her story. Wolf describes Cassandra’s power as follows:

This whole earthy-fruitful hodgepodge, this undisciplined tendency to merge and change into each other, this thing which it was hard to put a name to, this throng of women, mothers, and goddesses which it was hard to classify and to count, was brought under control, along with the right of male inheritance and private property, after what appear to have been long, difficult centuries, which now are described as “dark” and have been forgotten. (282)

Cassandra’s treacherous tendency to contain all the others, and to belong to no one but herself, this “undisciplined tendency to merge and change” is Cassandra’s secret, and the exploration of this secret conveys the novel’s forbidden knowledge, knowledge that is both dark and forgotten until a reader gathers the scraps of Cassandra’s voice into a narrative whole.

To return to the original passage, Wolf’s development of character thought continues, although direct statement gives way to what I’d always considered as the grunt work of narrative: there’s a scene, where Myrine the Amazon hacks at overgrowth with her ax, and the plot detail of Aeneas’s departure becomes the subject of dialogue between Myrine and Cassandra, progressing the characterization of Cassandra, Aeneas, and Myrine. This work in scene is important, and Wolf handles the technical difficulties of scene with finesse, but what interests me in this scenic material is Wolf’s continuous insertion of character thought. There’s the parenthetical expression of “yes, that’s the magical word”—and Cassandra’s reflective tone delves into a moment of discovery, revelation, recognition in the present before returning to the work of the scene, which is to describe an event from the past. There’s the comparative language linking Cassandra to Aeneas, signaled by the phrase “as if,” which shows Cassandra’s undisciplined tendency to merge into others, the reason for both her power (as a woman; as a seer) and her punishment (her imprisonment in the basket; the destruction of her people).

In the final sentences Wolf returns to comparative language, a symmetry that has been a hallmark of Wolf’s gestures throughout this passage. With these sentences, Cassandra takes up the subject of her voice, the musicality of it, and this music’s connection to her past experiences, as Atwood suggests any urgent narrative must do. After her imprisonment in the basket, Cassandra’s voice has not “suffered,” as her people believe, but its “tone” has changed. To quote: “The tone of annunciation is gone. Happily gone.” These final two sentences demonstrate the precision of indirect statement, or character thought as connotation, one of the distinguishing characteristics of first-person narrative. The word “annunciation,” with its implications of sacrifice, duty, self-destruction, reveals Cassandra’s assessment of her past. The word “happily” shifts Cassandra’s self-assessment into the present with an ironic lurch. With annunciation “happily gone,” Cassandra is in full possession of her powers. This “happily” can co-exist with her future, her death within hours. These connotations stretch character thought into all three temporal dimensions: past, present, and future. In these examples of indirect statement, this high degree of temporal flexibility, this simultaneity, generates urgency. When taken with what’s come before, the passage’s final gesture is one of highly-structured synthesis. Through different approaches to character thought, Wolf’s narrative shapes time, explores the forbidden knowledge, and tells the story as Cassandra must tell it, and as the readers must hear.

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Absence in The Blind Assassin

In her 2002 essay called, “Descent: Negotiating with the Dead,” Margaret Atwood uses a question as the subheading: “Who makes the trip to the Underworld, and why?” The main thesis of this essay answers to this question in the following way: writers make the trip because writing, at heart, presents an opportunity to rescue something from the oblivion of time. To quote Atwood: “all writing of the narrative kind, and perhaps all writing, is motivated, deep down, by a fear of and a fascination with mortality—by a desire to make the risky trip to the Underworld, and to bring something or someone back from the dead” (156).

As the essay develops, Atwood claims for writing a specialized territory not occupied by other arts. According to Atwood, writing’s relationship with mortality is unique because “it survives its own performance . . . as voice” (158). For Atwood, the novelty of narrative’s artistry is how “the voice moves through time, from one event to another, or from one perception to another, and things change” (158). Much like Christa Wolf, Atwood claims the voice’s mutability as a source of power because, for Atwood, the writer’s “deeply forbidden” journey through the Underworld bears worthy fruit when “life of a sort can be bestowed by writing” (172); Atwood’s metaphors imply that life-bestowed-by-writing derives from the vitality of voice and the searing pain of absence.

Blind Assassin Negotiating with the Dead collage

Margaret Atwood’s novel The Blind Assassin takes absence as one of its overt subjects. The Blind Assassin is a family novel, telling the story of Iris and Laura Chase, sisters who come of age during the Great Depression. This story unwinds through three modes of discourse: first, Iris Chase’s first-person narrative of her family history, childhood, marriage, and the aftermath; second, a novel-within-the-novel, also called The Blind Assassin, which Iris published under her sister’s name, after Laura’s death. This novel-within-the-novel is a third-person limited story of an affair between an unnamed “he” and an unnamed “she” that takes place during the inter-war years and ends during World War II; and third, a series of newspaper and magazine clippings, small announcements, obituaries, political and fashion columns, all mentioning people intimately connected to Iris.

Atwood’s novel is, ultimately, about absence. As Iris’s first-person narrative unfolds, she reveals a history of betrayals. Her marriage to Richard Griffen, an economic arrangement intended to keep open the Chase family business, ends in ruin. Richard closes the Chase factories; he uses Iris as a sexual object and abuses her; later, he transfers his physical and sexual abuse to Laura, but Iris cannot see what is in front of her because she is mired in betrayals of her own. During the years of Laura’s deepest trauma, Iris engages in an affair with Alex Thomas, the man Laura loves, and when Iris reveals this information to her sister, this revelation propels Laura to suicide, the suicide announced in the novel’s opening sentence: “Ten days after the war ended, my sister Laura drove a car off a bridge” (1). However, through most of Iris’s first-person narrative, Alex is an absent entity, a gap, a hole, in contrast to his presence in the other modes of the novel, for example as the “he” in the novel-within-the-novel. As I read this novel, my questions once again center around the word how? How does Atwood create this tension between absence and presence? How does a character vanish from the narrative while at the same time establish a presence in Iris’s every action?

The answer is through character thought. Throughout the complicated structure of this novel, character thought systematically links the various modes of discourse through association and reflection. For example, in the chapter “The Chestnut Tree,” Atwood begins with a two-paragraph sequence that is entirely character thought:

I look back over what I’ve written and I know it’s wrong, not because of what I’ve set down, but because of what I’ve omitted. What isn’t there has a presence, like the absence of light.

You want the truth, of course. You want me to put two and two together. But two and two doesn’t necessarily get you the truth. Two and two equals a voice outside the window. Two and two equals the wind. The living bird is not its labeled bones. (395)

Just as in the Christa Wolf passage, this example from The Blind Assassin announces its subject: absence. This passage begins with direct statement, signaled by the subject/verb pairs “I look back,” and “I know.” This sentence situates the reader within a triangular relationship between what Iris has written in her first-person narrative, and what she remembers, which is just as must absence as presence. The narrative is “wrong” because of what is missing. This contrast between absence and presence continues as the sentence transitions from direct statement to comparative language, signaled by the “not because . . . but because” correlation. With no full stop between direct statement and comparative language, the second gesture becomes an extension of the first. As Iris reflects on her writing in the present, she recalls but does not express her past. While moving through different modes of character thought, this sentence also moves through time. Now the writing is “wrong” because of what Iris has “omitted” from back then—behind that word “omitted” is a remembered history. There, in those memories, is the forbidden knowledge, and Iris’s voice spirals around it but does not touch it directly . . . yet. As character thought, comparative language makes this spiraling between times possible. The spiral structure lends itself to the discussion of absence: the circular movement around a narrowing gap.

The final sentence of this paragraph confirms this spiral structure. The sentence begins with direct thought—Iris’s commentary on her writing—“What isn’t there has a presence.” Then the simile (“like the absence of light”) moves the sentence into comparative language, echoing the gestures from the previous sentence, but at a quicker pace. The spiral narrows. In this comparison, presence becomes absence, darkness become light. The forbidden knowledge takes on dimension.

The next paragraph changes rhetorical direction with the direct address of “you.” However, rather than functioning as a move away from character thought, this rhetorical shift adds another temporal dimension to the character thought sequence introduced in the previous paragraph. The use of anaphora—“You want . . . You want”—and the simple, declarative syntax indicates character thought through direct statement. In addition, the “you” isn’t another person in the room; instead, the “you” is a projected future reader, Iris’s estranged granddaughter Sabrina. These “you” sentences project Iris’s thoughts into the future, but they remain Iris’s thoughts.

In the paragraph’s last four sentences, Iris responds to the projected “you.” The conjunction “but” and the direct statement, “two and two doesn’t necessarily get you the truth,” set up this turn and lend a call-and-response structure to this paragraph. Within call-and-response structures reside another implicit reference to time; first the demand then the response, a structure containing both sequence and causality. In this example from Atwood, time unfolds in several ways within the call-and-response; first through the future projection of “you” reading and wanting certain responses; second in Iris’s answers to “you’s” demands because these answers transpire in not only the now of her writing but also the future of her voice talking to “you,” to her granddaughter Sabrina. In this future, Iris will reveal the forbidden knowledge of their family’s history. That this extension of Iris’s voice takes her into a future beyond her death shows another way Atwood uses character thought to explore the nature of absence. Even as Iris writes, the movement of her thoughts through different temporalities generates the presence of her absence.

Finally, the last three sentences return to the gesture of comparative language. All three sentences use metaphor to express Iris’s thoughts about the slippery nature of truth. The first two metaphors announce their relationship to the paragraph’s previous sentences through anaphora: “two and two equals.” Syntactically, this comparative language connects to the previous direct statements, which continues the temporal dimensions of the previous sentences. Iris writes now; her granddaughter will read her voice in the future. In addition to present and future, these metaphors also stretch character thought into the past: “ . . . a voice outside the window” and “ . . . a wind.” Within the context of the overall novel, not to mention this specific chapter, both the voice and the wind connect to memory, to the past, to regret, to absence.

The last sentence makes these connections explicit; the metaphor shifts away from the “two and two” echo to convey Iris’s thoughts about the ambiguity of truth: the “living bird is not its labeled bones,” Iris writes. In this metaphor, time and mortality, presence and absence exist within the single figure. The image of the bird—alive then dead—and the distortions of truth—the living bird is more true than the bird’s bones, but the bones are also true. Presence and absence exist within both of these comparative terms: the bird once lived; one can imagine the living bird by labeling its bones, which exist now, have presence now, but not living presence. This metaphor applies not only to truth in the abstract; this comparative language also applies to Atwood’s entire novel. Each of the modes of discourse—first-person narrative, novel-within-the-novel, and newspaper clippings—also presents a version of truth, but as separate entities these modes are only the bones of a story. Character thought connects the novel’s three modes of discourse; through this connection the novel becomes a living bird.

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Conclusion: The Golden Notebook

In Doris Lessing’s 1993 “Introduction” to her novel The Golden Notebook, she comments on her surprise at the novel’s progress through the decades, surprise at how many people read the novel, surprise at the book’s many lives. In this introduction, Lessing speculates on why The Golden Notebook remains a vital experience for multitudes of people. As she observes, “novels give you the matrix of emotions, give you the flavor of a time in a way formal history cannot” (x), which is why she “[has] to conclude that fiction is better at ‘the truth’ than a factual record” (xi). Emotions and time, fiction and truth—here are the prerequisites for Margaret Atwood’s urgent voice; also in Lessing’s ideas are the necessities for character thought.

Doris Lessing Golden Notebook collage

Throughout The Golden Notebook, the protagonist, Anna Wulf—woman, writer, communist in 1950s London—describes a private, euphoric experience she calls “the game.” In the game, Anna imagines herself in her room, builds the room object by object around her. Once her mind secures the room, she imagines the house, the street, the neighborhood, London, Great Britain, Europe, the world. With each addition, Anna also maintains the image of herself, her room, her house. On good nights, Anna can, for an instant, finish the game—her imagination holds all these places together, what Anna calls “a simultaneous knowledge of vastness and of smallness” (513). A brief vision of spectacular unity before the moment passes: pure “exhilaration” (513).

I think the game makes a good analogy for character thought in fiction. In a technical sense, character thought provides the apparatus for the writer to create an emotional matrix through the medium of time, to create voice. Character thought infuses plot with meaning, and meaning is what grants fiction with its texture of reality, its feeling of truth. Reading a good novel, being caught in the net of character thought, feels a bit like Anna’s game: exhilarating.

—Erin Lillo

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In addition to writing, teaching, and parenting, Erin Lillo reads too much and listens to music too loud. She also has an ongoing competition with her husband to see who can work the most lines from The Big Lebowski into everyday conversation. Currently she’s losing. Her work has appeared in Chicago Quarterly Review and The Tishman Review. Her poems appeared in an earlier issue of Numéro Cinq. She has an MFA in poetry and fiction from Vermont College of Fine Arts.

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Jul 012017
 

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I remember sitting outside on my patio around 8 a.m. on June third wrapped in a drab green blanket—late spring mornings in Maine are still too chilly for short sleeves—while steam rose from a neglected mug of coffee and twirled away through the air. I’d just finished my second semester in a master’s degree program in creative nonfiction at Vermont College of Fine Arts, and I’d imagined that when I reached the midway point of my degree program I would feel elated. Instead, I felt lost. Time and again in letters from my advisors and comments from peers in writing workshops my essays had elicited the same questions and prompted the same critiques.  “Maybe you should cut the first three pages?” Or, with inky red arrows pointing to a specific paragraph, “I feel like the essay starts here.” Others would ask: How old are you in the essay? At what time (of the year, month, or day) does this essay occur? How many years passed between the time of the experience and the time of writing about it? In the work I’d received back from my advisor that morning he’d asked the same types of questions. So I sat on my patio with coffee cooling beside me and the ocean fog still thick over the fields, and I felt like I too was under a fog. What was I doing wrong? Chronology in my essays seemed obvious to me—I’d been there after all—but how was I failing to convey the basic sequence of events to readers?

Three weeks after that morning I started my third semester, none the wiser on how to crack my chronology problem. During the third semester at VCFA students write a critical thesis on literary works, themes, or craft. Douglas Glover, my new faculty advisor, said that to tackle the critical thesis I should focus on an area of my own writing that was deficient and rigorously examine the successful deployment of that technique in the writing of others. I described for him the trouble I had coherently moving my essays forward through time, but said I didn’t know what to call this technique. “Time control,” he answered, summoning to my mind images of Time Lords and a TV show I’d watched as a child in the late 80s where a teenage girl—half human, half alien—could stop time by touching her right and left index fingers together. While this would have been a useful trick to learn, narrative time control requires no superhuman abilities and is far more necessary as a writer.

Prepared now with the name for the literary technique I needed to study, I rallied to begin my research, but surprisingly I found nothing on the topic of time control as it pertained to creative nonfiction. Science fiction, yes, just look at H.G. Wells. And there was even literature on narrative time control for fiction writers and memoirists. But when it came to personal essays, the type of creative nonfiction I was working on, I found that the well of craft books had run dry.

Not to worry, Glover intimated in a letter to me, because there are just a few basic techniques through which writers control time flow. These he called time stamps; tenses and tense changes; temporal conjunctions, adverbs, and adverbial phrases; syntactic constructions; and meta-text. Seemed simple enough to me and I was certain I knew what at least half of these listed techniques were, but I wondered if a writer could really use those techniques time and again without bogging essays down with dates, or crafting artificial narrative with tailored auxiliary clauses. In order to truly understand how writers artfully control time with these techniques I decided to examine and compare two personal essays: Joan Didion’s “Goodbye to All That” and E.B. White’s “Once More to the Lake.”

One Man Meat Slouching Towards Bethlehem collageCollections containing the essays.

In “Goodbye to All That,” Didion tells the story of how she fell in love with New York City as a twenty-year-old woman, and how as a not-so-young woman she suddenly and dramatically fell out of favor with the city. I say “not-so-young” because Didion was twenty-eight when she left New York and returned to her native California, but Didion notes in her essay that New York—bursting with vitality, opportunity, and an endless supply of “new faces”—is “a city for only the very young.” Originally published in 1967, “Goodbye to All That” gained wide recognition in her 1968 essay collection Slouching Toward Bethlehem and has since inspired generations of writers who have loved and left New York. A reflective, first-person narrative, “Goodbye to All That” is thirteen pages long and is broken into four sections. The essay’s central action spans eight years and was written three years after the main action had ended.

In “Once More to the Lake,” E.B. White tells of his return to an idyllic lake in Maine where he had often vacationed with his father when he was a child. On his return journey, White is accompanied by his young son, and he is provoked by memories into a deep and ultimately unsettling meditation on how time has affected him and that “holy spot” of his youth. White weaves together memories of his boyhood with his father and memories of his week-long vacation with his son and realizes that as he is now the father figure, he is also nearer death than he once was.

A favorite of personal essayists everywhere, “Once More to the Lake” was published in 1941 in Harper’s Magazine. A reflective personal essay with a first-person narrator, “Once More to the Lake” is six pages long and has only one section, which is comprised of thirteen paragraphs. The essay’s basic chronology is based on the writer’s week-long trip with his son.

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Time stamps

The first time control technique I examined was what Glover had termed time stamps, as this seemed like a universally recognizable, and therefore reliable, way to establish time flow. Time stamps are any text that identifies a specific date, such as a year, a day of the week, a month, or a holiday. Other time stamps could include historical references, car models, or objects that are time-related. I began by scouring “Goodbye to All That” for time stamps, expecting to see some time stamps scattered around the first paragraph. To my surprise, I found none until the third page of the essay. Didion uses the word “December” on the third page (227), “Christmas” on the fourth page (228) and twice again on the sixth along with “Easter” and “May” (230). “Saturdays,” and “Saturday” appear on the seventh page (231). On the ninth page Didion refers to “faded nightgowns which were new in 1959 or 1960,” (233). “Saturday-afternoon,” appears on the eleventh page (235), “April” and “January” on the thirteenth (237), and then “January” once again on the final page of the essay (238).

I noticed several scenic descriptions in Didion’s essay that, while they are not time stamps, gave temporal context. For example, she writes “the Seagram Building fountains dissolve into snowflakes” (227) and “the first snow had just begun to fall” (228). Didion often enhances scenes with what I’ve termed sensory time cues, and as I continued to read I realized these descriptions are generally auxiliary to time stamps, though they can appear before or after them. The foregoing sensory time cue comes just before the time stamp “Christmas”: “I laughed with him, but the first snow had just begun to fall and the big Christmas trees glittered yellow and white. . .” (228). While subtler than time stamps, these still give temporal information. Of a winter evening at 6:30 p.m. Didion writes that it was “already dark and bitter with a wind off the river…” (229). Of an early morning she writes, “the few cruising taxis still had their headlights on and the only color was the red and green of the traffic signals” (234).

Didion uses time stamps as anchors: they clearly identify a context around which she builds more elaborate descriptions in the form of sensory time cues. However, as time stamps appear less often and later in Didion’s essay than I had anticipated, it was plain they are not her primary method for establishing time at the beginning of her essay. While universal time stamps are sparse, it occurred to me that Didion often gives the reader a sort of time marker that solely pertains to her: her age. Didion often states her age in scenes, which orients readers as Didion leaps forward in time. While not a time stamp per se, it is clear that an age stamp (be it the age of a minor character or of the writer, which I’ll call an authorial age stamp) can be used to establish time flow and sequence events in the same way as time stamps.

Joan Didion by Julian Wasser 1968Joan Didion by Julian Wasser 1968

Following this trail, I searched “Goodbye to All That” for authorial age stamps and noticed that most scenes in the essay were sequenced or given temporal context through identification of Didion’s age. For example, the opening paragraph does not have any time stamps but Didion writes that she was twenty when she arrived in New York, and she also makes an observation about how she felt when she was twenty, twenty-one, and twenty-three. The word “twenty” appears three times in “Goodbye to All That,” “twenty-one” appears once, “twenty-two” appears once, “twenty-three” appears three times, and “twenty-eight” appears twice. It is interesting to note that Didion uses the word “time” or “timed” fourteen times in as many pages.

What about “Once More to the Lake,” I wondered; does White use time stamps with the same frequency as Didion? Does he root his sentences with time stamps and build out sensory time cues from that base? Does he use any age stamps for himself, his son, or his father? The first thing I noticed was that most published copies of “Once More to the Lake” (the essay often appears online and in various anthologies, like Philip Lopate’s The Art of the Personal Essay) retain the original publication date, August 1941, which precedes the text. I then looked at the first paragraph for time stamps:

One summer, along about 1904, my father rented a camp on a lake in Maine and took us all there for the month of August. We all got ringworm from some kittens and had to rub Pond’s Extract on our arms and legs night and morning, and my father rolled over in a canoe with all his clothes on; but outside of that the vacation was a success and from then on none of us ever thought there was any place in the world like that lake in Maine. We returned summer after summer—always on August 1 for one month. I have since become a salt-water man, but sometimes in summer there are days when the restlessness of tides and the fearful cold of the sea water and the incessant wind that blows across the afternoon and into the evening makes me wish for the placidity of a lake in the woods. A few weeks ago this feeling got so strong I bought myself a couple of bass hooks and a spinner and returned to the lake where we used to go, for a week’s fishing and to revisit old haunts. (533)

In the first sentence, White provides the reader with two time stamps: “1904” and “August.” Then “August 1” appears in the third sentence. While White uses time stamps in the way I had expected Didion would, as an expedient way to establish time at the outset of the essay, only four more time stamps appear throughout the rest of the text. “September,” “June,” and “Sunday” appear on the third page of the essay (535) and “August” appears once more on the fourth page (536). White uses fewer time stamps than Didion in total, but this is predictable as “Once More to the Lake” is less than half the length of “Goodbye to All That,” and the basic chronology is shorter, spanning only one week as opposed to eight years.

Unlike Didion, White never explicitly states what his age is, either at the time of writing or during his boyhood visits. Nor does he mention his father’s age or the age of his son. White references his father’s seemingly “enormous authority” (536), he mentions “what it felt like to think about girls” (537) when he was young, and in the final paragraph White also writes that he felt “the chill of death” (538) when he revisited the lake as an adult. However, White does fill his narrative with temporal context through sensory time cues in the same way as Didion. For example, in the second paragraph White recalls how as a boy he would dress quietly in the early morning “so as not to wake the others” and he’d take a canoe out on the “cool and motionless” lake, keeping near the shore “in the long shadows of the pines” (533). And later, he remembers how the tennis net “sagged” and the court “steamed with midday heat and hunger and emptiness” (535) when he would walk up to one of the farmhouses for lunch. Most of White’s sensory time cues pertain to the time of day or the time of year.

What amazed me was not only that White’s writing is inlaid with sensory time cues, but that even the insistent use of this time control technique reads so beautifully, not at all like a captain’s log or a list of historical dates one might have to memorize for an exam. It is worth noting that the word “time” occurs ten times in six pages, including when it appears in the words “summertime” and “daytime.” It is interesting, also, that there are no time stamps, age stamps, or sensory time cues in the final paragraph of “Once More to the Lake,” that it is the only paragraph in which these do not appear, and that it is the shortest paragraph by several lines:

When the others went swimming by, my son said he was going in, too. He pulled his dripping trunks from the line where they had hung all through the shower and wrung them out. Languidly, and with no thought of going in, I watched him, his hard little body, skinny and bare, saw him wince slightly as he pulled up around his vitals the small, soggy, icy, garment. As he buckled the swollen belt, suddenly my groin felt the chill of death. (538)

As I read the ending of “Once More to the Lake,” which seemed to comment on the passage of time without any direct references to time itself, it was clear that time stamps and sensory time cues were not the extent of the time control techniques used by White. Some other technique was at work here. I opened my letter from Glover again to see how else White and Didion might be controlling time.

E.B. WhiteElwyn Brooks “E. B.” White

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Tenses and tense changes

The second time control technique that Glover had listed was the use of tenses and tense changes. This refers to a writer’s decision about what tense to use, or how to express the time during which the main action in the essay takes place, and any intentional changes in that tense. I looked again at “Goodbye to All That” to see what tense Didion uses in her narrative. The first paragraph of the essay is twenty-five lines long and is comprised of only five sentences. (Long, complex sentences are typical of Didion’s style, so complete quotations often seem excessive and unnecessary; however, I’ve provided the first paragraph in its entirety here to serve as an example of how Didion controls time through tense and tense changes, and for future reference.) The narrator begins by making a statement in the present tense, and then eases back into a memory in the simple past:

It is easy to see the beginnings of things, and harder to see the ends. I can remember now, with a clarity that makes the nerves in the back of my neck constrict, when New York began for me, but I cannot lay my finger upon the exact moment it ended, can never cut through the ambiguities and second starts and broken resolves to the exact place on the page where the heroine is no longer as optimistic as she once was. When I first saw New York I was twenty, and it was summertime, and I got off a DC-7 at the old Idlewild temporary terminal in a new dress which had seemed very smart in Sacramento but seemed less smart already, even in the old Idlewild temporary terminal, and the warm air smelled of mildew and some instinct programmed by all the movies I had ever seen and all the songs I had ever heard sung and all the stories I had ever read about New York, informed me that it would never be the same again. In fact it never was. Some time later there was a song on all the jukeboxes on the upper East Side that went “but where is the schoolgirl who used to be me,” and if it was late enough at night I used to wonder that. I know now that almost everyone wonders something like that, sooner or later and no matter what he or she is doing, but one of the mixed blessings of being twenty and twenty-one and even twenty-three is the conviction that nothing like this, all evidence to the contrary notwithstanding, has ever happened to anyone before. (225-226)

The essay begins in the simple present with the simple present verbs “is,” “see,” “see,” “can remember,” “makes,” and “constrict,” but then the tense dances between simple present and simple past with the verbs “began,” “cannot lay,” “ended,” “can/cut,” “is,” and “was.” This final change to simple past smoothly transitions to the simple past verbs that the following sentence begins with: “saw,” “was,” “was,” and “got off.” However, in the middle of that sentence, Didion changes from simple past to past perfect, with “had seemed” and then switches back to the simple past, “smelled,” “programmed,” and then switches tenses again with the past perfect trio: “had/seen,” “had/sung,” and “had/read,” before using a final modal verb, “would never be.” This complex sentence is followed by the simple past tense declarative statement, “In fact it never was.” In the next sentence Didion changes again to the simple past, “was,” “went,” and then “used to be,” and “used to wonder.”  The next sentence starts in the simple present tense to contrast her present self with her past self (“know,” “wonders,” “is doing,” “being,” and “is”) before ending with the present perfect “has/happened.”

Within this one paragraph Didion moves with startling grace through several tenses and times. She navigates between the time of writing and the time of her experience with stunning grammatical complexity. She begins in the present moment (the time of writing, or what I call the narrative present) with the simple present tense, and then moves to a specific past time (the moment of her arrival in New York) with the simple past tense. She switches briefly to the past perfect to reflect on a decision she made in Sacramento (an event in the slightly more distant past) that she regrets upon arrival in New York (the more recent past) using again the simple past tense. She then uses the past perfect tense to reflect again on her life prior to New York and how she “had been” prepared for her arrival in New York, which spans a period of time from an unspecified point in the past up to a specific past moment. Didion then moves to a more recent past event in which she recalls feelings of nostalgia for a more distant past, using again the simple past tense. Finally, Didion brings the reader back to the narrative present to share her current understanding in the simple present tense, but she ends on a twist with the present perfect tense, which begins at an unspecified time in the past and ends in the present moment.

In total, she uses simple present, simple past, past perfect, present perfect and a modal verb to describe seven different times. This general pattern repeats, with some variation, throughout “Goodbye to All That.” Paragraphs often start with a simple present reflection, leading to a simple past scene, followed by a past perfect reflection, then returning to a simple past scene, and ending with a simple present reflection. The final paragraph of the essay, in which Didion reflects on her last visit to New York, serves as an example of a variation on that general pattern of tense and tense changes:

It was three years ago that he told me that, and we have lived in Los Angeles since. Many of the people we knew in New York think this a curious aberration, and in fact tell us so. There is no possible, no adequate answer for that, and so we give certain stock answers, the answers everyone gives. I talk about how difficult it would be for us to “afford” to live in New York right now, about how much “space” we need. All I mean is that I was very young in New York, and that at some point the golden rhythm was broken, and I am not that young anymore. The last time I was in New York was in a cold January, and everyone was ill and tired. Many of the people I used to know there had moved to Dallas or had gone on Antabuse or had bought a farm in New Hampshire. We stayed ten days, and then we took an afternoon flight back to Los Angeles, and on the way home from the airport that night I could see the moon on the Pacific and smell jasmine all around and we both knew that there was no longer any point in keeping the apartment we still kept in New York. There were years when I called Los Angeles “the Coast,” but they seem a long time ago. (238)

Here, Didion begins with the simple past “was” and “told,” and then switches to the present perfect “have lived.” The second sentence moves from simple past “knew,” to simple present “think” and “tell.” Then Didion starts the third sentence with the simple present “is” and continues in the simple present, including one modal “would,” throughout that and the following sentence. Then she transitions from the simple present tense statement “All I mean” to the simple past reflection, “I was very young” back to the simple present “I am not that young anymore.” This moves the reader nicely into her next piece of reflection, her trip back to New York, which occurs in the simple past and her reflection on what had happened to her old friends, whose actions take place in the past perfect tense, “had moved,” “had gone,” and “had bought.” The next sentence starts again with simple past, “stayed” and “took,” then uses the modal “could see,” “smell,” and then the past “knew,” “was,” “keeping,” and “kept.” In the final sentence Didion moves readers from the simple past, “were” and “called” to end in the simple present with “seem.” Here Didion uses simple past, present perfect, simple present, and past perfect to express action occurring at seven distinct times.

Goodbye to All That

I wondered if “Once More to the Lake,” uses tenses and tense changes similarly to “Goodbye to All That.” White’s essay, like Didion’s, is framed by a present-time narrator who reflects on a past time and, like Didion, White’s essay isn’t about a specific event that occurred in the past, but rather it’s about a place where past action occurred over several seasons. I looked again at the first paragraph of “Once More to the Lake” to see what tenses and tense changes White uses.

Unlike Didion’s essay, which begins in the present tense, White’s essay begins in the simple past. In the first three sentences he refers to his childhood adventures on the lake with the verbs “rented,” “took,” “got,” “had,” “rolled,” “was,” “thought,” and “returned.” Then the fourth sentence switches to the present prefect with “have/become,” and then the simple present “are” and “make” as White writes about his current preference for the ocean over lakes. Then in the fifth sentence, the final sentence of the paragraph, White expresses his nostalgia for the placid lake of his youth and the tense returns to the simple past, with the verbs “got,” “bought,” and “returned/to revisit.” There is also one occurrence of “used to” in that fifth sentence, which acts irregularly (much like “would always”) and refers to the repetition of past actions.

As I continued to look through the essay, I realized that most of the action in “Once More to the Lake” occurs during two distinct times in the past: the past of White’s childhood on the lake and the past of his recent visit to the lake. The only exceptions are the brief use of the simple present and present perfect in the opening paragraph when White writes of his preference for saltwater, and a present modal in the second paragraph when White writes of memory: “It is strange how much you can remember about places like that once you allow your mind to return into the grooves that lead back” (533). When writing about and comparing two past times they can easily become muddled without strong grammatical indicators, but it occurred to me that White likely controls his choice of verb tenses and changes between tenses in order to clearly express these two distinct past times.

I looked for text that describes White’s week-long trip to the lake with his son to see what verb tenses he uses to describe that time and landed on the fifth paragraph, where White and his son go out fishing:

We went fishing the first morning. I felt the same damp moss covering the worms in the bait can, and saw the dragonfly alight on the tip of my rod as it hovered a few inches above the surface of the water. It was the arrival of this fly that convinced me beyond any doubt that everything was the same as it had always been, that the years were a mirage and that there had been no years. The small waves were the same, chucking the rowboat under the chin as we fished at anchor…We stared silently at the tips of our rods, at the dragonflies that came and went. I lowered the top of mine into the water, tentatively, pensively dislodging the fly, which darted two feet away, poised, darted, two feet back, and came to rest again a little farther up the rod. There had been no years between the ducking of this dragonfly and the other one—the one that was part of memory. I looked at the boy who was silently watching his fly, and it was my hands that held his rod, my eyes watching. I felt dizzy and didn’t know which rod I was at the end of. (534)

White starts this paragraph in the simple past with the verbs “went” and “felt” and the past continuous “covering.” In fact, all of the following action occurs in the simple past tense (“saw,” “alight,” “hovered,” “convinced,” and so on) until White reflects that the lake and the activities that take place at the lake are unchanged from when he was young. When White harkens further back he writes “everything was as it always had been,” and “there had been no years.” Both statements are in the past perfect tense. Then White returns to the simple past and past continuous as he refocuses on the fishing expedition with the verbs “were,” “chucking,” and so on. This pattern of referring to the recent past trip to the lake with his son in the simple past and past continuous carries forward into the next paragraph when a fish is caught: “We caught two bass, hauling them briskly as though they were mackerel, pulling them over the side of the boat…” (534). And the tense changes again to the past perfect when White iterates for a third time that there “had been no years” (535) between his own boyhood on the lake and his son’s.

I decided then to look at text that primarily describes White’s boyhood experiences on the lake to see what verb tense is dominant there. I selected a paragraph on the fourth page, focusing on the second half of the paragraph where White watches his son learn to use an outboard motor and reflects on how he had used a motor when he was young:

Watching him I would remember the things you could do with the old one cylinder engine with the heavy flywheel, how you could have it eating out of your hand if you got really close to it spiritually. Motorboats in those days didn’t have clutches, and you would make a landing by shutting off the motor at the proper time and coasting in with a dead rudder. But there was a way of reversing them, if you learned the trick, by cutting the switch and putting it on again exactly on the final dying revolution of the flywheel, so that it would kick back against compression and begin reversing…It took a cool nerve because if you threw the switch a twentieth of a second too soon you would catch the flywheel when it still had speed enough to go up past center and the boat would leap ahead, charging bull fashion at the dock. (536-537)

I found here that instead of using the past perfect tense to express actions that occurred or conditions that were present during his boyhood, White predominantly uses modal verbs and conditionals to express repeated actions in the past. The foregoing excerpt begins with the past continuous “watching” and then the modal “would remember,” and “could do,” where the modal verb “would” expresses repeated past action and “could” expresses a past ability. This is followed by the conditional “could have/if,” which expresses a possibility. In the next sentence, White uses a modal “would” again, then an “if/would” conditional in sentence after that, and he finishes the paragraph with an “if/would/would” conditional.

White’s use of modal verbs continues into the next paragraph when he recalls the trip with his son as a completed past event: “We had a good week at camp…We would be tired at night and lie down in the accumulated heat of the little bedrooms after the long hot day and the breeze would stir almost imperceptibly outside…Sleep would come easily and in the morning the red squirrel would be on the roof, tapping out his gay routine.” In these cases, the modal “would” is used to express past actions and conditions repeated over several nights of the week-long stay.

While nearly all of “Once More to the Lake” occurs in the past, White uses different verb tenses to express different types of past action. To describe an active scene, such as fishing with his son, White uses simple past and past continuous, but to describe patterns of action that happened when he was younger, or patterns of action completed in the more recent past, he uses modal verbs. When reflecting on the ways in which the lake was unchanged from the time of his boyhood to the time of his visit with his son, White uses the past perfect tense. These clearly delineate for the reader what type of past action is occurring: White’s own distant past, his recent past with his son, or the lake’s past.

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Time clauses: temporal conjunctions, adverbs, and prepositional and adverbial phrases

However, there was more to White’s and Didion’s time control than time stamps and verb tenses. As I searched for tenses and tense changes, I noticed that time-related information was often offset in a separate clause, which I learned is called a subordinate clause of time. Clauses of time are always subordinate, or auxiliary, and contain information about when the action in the main clause occurs. In “Goodbye to All That,” for example, Didion writes: “It was three years ago that he told me that, and we have lived in Los Angeles since.” The sentence begins in the past tense with a subordinate clause of time which tells when an action occurs (in this case an action revealed in the previous paragraph of the essay) and then switches to the present tense in the main clause which refers to a present condition, i.e. her living in Los Angeles.

I noticed a key word in the main clause that Glover had flagged as another time control technique: the word, “since.” In his letter, Glover said to look for conjunctions of time, adverbs of time, and adverbial phrases of time. Temporal conjunctions tell when an action happens. The most common temporal conjunctions are: when, whenever, after, before, until, since, while, once, and as. Temporal adverbs are more varied and can be broken into four main groups. The first type of temporal adverb expresses the definite time of an action, for example: now, today, tonight, then, tomorrow, yesterday. The second type expresses the definite frequency of an action, for example: daily, nightly, weekly, monthly, yearly, annually, and so on. The third type expresses the indefinite frequency of an action: always, ever, constantly, generally, frequently, often, sometimes, occasionally, rarely, seldom. The fourth type of temporal adverb expresses time relationships between actions: already, before, first, finally, just, since, last, late, later, soon, still, yet. There is some overlap between temporal adverbs of this type and temporal conjunctions. Temporal adverbial phrases are two or more words that serve as an adverb, such as: in a minute, any time, as soon as, after the movie, and so on.

I looked to see how Didion uses temporal conjunctions, adverbs and adverbial phrases in “Goodbye to All That.” I started again with the first paragraph, where Didion uses the time conjunctions “when,” “once,” and “before.” Temporal adverbs are more common. In the first paragraph, “never” appears three times, “ever” appears four times, and “first,” “already,” “late,” and “now” each appear once. Didion also uses two temporal adverbial phrases: “some time later” and “sooner or later.” As I kept reading, I was surprised to see  how abundantly Didion had scattered temporal conjunctions, adverbs, and adverbial phrases throughout “Goodbye to All That.”

An excellent example of Didion’s frequent use of temporal conjunctions, adverbs, and adverbial phrases (as well as her complex sentence style) comes a couple pages into the essay when she foreshadows the end of her time in New York in a scene where she is still enjoying her early days there:

I could taste the peach and feel the soft air blowing from a subway grating on my legs and I could smell lilac and garbage and expensive perfume and I knew it would cost something sooner or later—because I did not belong there, did not come from there— but when you are twenty-two or twenty-three, you figure you will have a high emotional balance, and be able to pay whatever it costs. I still believed in possibilities then, still had the sense, so peculiar to New York, that something extraordinary would happen any minute, any day, any month. (228-229)

Still attuned to Didion’s use of age stamps, sensory time cues, verb tense and tense changes in essays, I noticed that in these two sentences Didion uses the authorial age stamp “twenty-two or twenty-three,” she hints at summertime with the sensory time cues “peach” and “soft air blowing,” and she begins with the modal verb “could” and continues in the simple past, “smell,” “knew,” before switching to the modal “would,” and simple future, “will,” “pay.” The second sentence starts in the simple past “believed” and “had” and uses the modal verb “would.” Now that I was looking beyond those time control techniques I could also see that she uses the temporal conjunction “when,” and the temporal adverbs “later” and “then,” and “still” twice. In addition to those, she uses the temporal adverbial phrase, “sooner or later,” and a string of three phrases, “any minute, any day, any month.”

After reading through “Goodbye to All That” with an eye trained to this new time control technique, I noticed that Didion often uses temporal adverbs of indefinite frequency to express ultimate conditions. For example, it isn’t Didion’s style to write that the majority of the songs and stories she heard about New York led her to believe that living there would change her life. Instead she writes “all the movies I had ever seen and all the songs I had ever heard sung and all the stories I had ever read about New York, informed me it would never be quite the same again” (226). In fact, the word “ever” appears seven times, “never” appears thirteen times, and “always” appears five times in the essay. “First” is used seven times and “last” is used three times. The most common temporal adverbs pertaining to action that occurred while she lived in New York express relationships in time, such as “already,” “often,” “still,” and “later.” There is not a single paragraph in all of “Goodbye to All That” that does not contain temporal conjunctions, adverbs, or adverbial phrases.

I noticed something else, too. Throughout her essay Didion writes the time of day during which scenes take place. These she often writes as temporal prepositional phrases, which act like adverbial phrases but contain a preposition and a noun. For example, her use of “at night” in the first paragraph: “Some time later there was a song on all the jukeboxes on the upper East Side that went ‘but where is the schoolgirl who used to be me,’ and if it was late enough at night I used to wonder that” (226). Didion uses several temporal prepositional phrases throughout “Goodbye to All That,” including “in the spring” (227), “on nights like those” (229), “in the morning” (233), “in the early morning” (234), “in the night” (234), “at dawn,” (234) and many more.

I wondered if White uses temporal subordinate clauses in the same way as Didion or if the two writers’ methods of time control  differ on the level of conjunctions, adverbs and adverbial phrases. The first thing I noticed looking at “Once More to the Lake” was that White uses far more temporal adverbial phrases than Didion, starting with the phrase contained in his essay’s title, “once more.” I read again the opening paragraph of the essay and found that nearly every sentence contained temporal adverbial phrases and saw that White had used temporal conjunctions, adverbs, and prepositional phrases as well:

One summer, along about 1904, my father rented a camp on a lake in Maine and took us all there for the month of August. We all got ringworm from some kittens and had to rub Pond’s Extract on our arms and legs night and morning, and my father rolled over in a canoe with all his clothes on; but outside of that the vacation was a success and from then on none of us ever thought there was any place in the world like that lake in Maine. We returned summer after summeralways on August 1 for one month. I have since become a salt-water man, but sometimes in summer there are days when the restlessness of tides and the fearful cold of the sea water and the incessant wind that blows across the afternoon and into the evening makes me wish for the placidity of a lake in the woods. A few weeks ago this feeling got so strong I bought myself a couple of bass hooks and a spinner and returned to the lake where we used to go, for a week’s fishing and to revisit old haunts. (533)

White uses three temporal adverbial phrases in the first sentence: “one summer” and “along about 1904,” both of which are offset in temporal subordinate clauses, and “for the month of August.” I noted that two of these adverbial phrases also contained the time stamps “1904” and “August.” In the second sentence, White uses two adverbial phrases: “night and morning” and “from then on.”  The third sentence contains the temporal adverbial phrases “summer after summer,” and “for one month,” the temporal adverb “always,” and the prepositional phrase “on August 1.” The fourth sentence is the only sentence without an adverbial phrase, but it does contain the temporal adverbs “since” and “sometimes,” the temporal prepositional phrases “in the summer,” “across the afternoon,” and “into the evening,” and the temporal conjunction “when.” The fifth sentence contains two temporal adverbial phrases: “A few weeks ago” and “for a week’s fishing.”

As I continued to look through “Once More to the Lake,” I noticed that, as in Didion’s essay, every single paragraph contains at least one temporal conjunction or adverb, or temporal prepositional or adverbial phrase. Most of them contained many more than one. I also noticed that he uses the temporal adverb “first” often, seven times in the essay with two of those times occurring in the adverbial phrase “first morning.” But unlike Didion, White never uses the word “last.” I noticed that White also routinely uses temporal prepositional phrases, such as “in the daytime” or “at night” (536), and in these he often inserts an adjective, for example “in the still evening” (536) and “in the shining night” (537).

It was then that I realized what time control technique White uses in the final paragraph of “Once More to the Lake” to elicit a sense of time passing without making use of time stamps, age stamps, or dramatically shifting verb tenses. I read that paragraph again, this time looking for temporal conjunctions, adverbs and prepositions. I found four, one in each sentence:

When the others went swimming by, my son said he was going in, too. He pulled his dripping trunks from the line where they had hung all through the shower and wrung them out. Languidly, and with no thought of going in, I watched him, his hard little body, skinny and bare, saw him wince slightly as he pulled up around his vitals the small, soggy, icy, garment. As he buckled the swollen belt, suddenly my groin felt the chill of death. (538)

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Then/now constructions

By this time, I was beginning to feel like I had a solid grasp on time control techniques. I’d read “Goodbye to All That” and “Once More to the Lake” at least a dozen times each. I’d learned about time stamps like “Christmas” and “1904.” I’d scoured both essays for verb tenses and tense changes and observed how each writer uses them differently to express time changes. I’d looked as temporal conjunctions and adverbs, and temporal adverbial and prepositional phrases. Surely this was sufficient for a writer to move a story through time, to establish the chronology of events and deftly move from sentence to sentence and paragraph to paragraph. However, when I looked back to my letter from Glover I saw that my exploration of time control was not yet over. In his letter he wrote that the use of syntactic then/now constructions allows writers “to quickly juxtapose a past event with the present.” When I began to explore then/now constructions I saw that time control is more than just establishing a coherent baseline for a story, a beginning that leads to a middle and then to an end; time control is the key to showing how the writer is affected by and changes in response to the events within a text. Then/now constructions carry this trick off with aplomb.

Didion’s first use of a then/now construction occurs in the first paragraph of “Goodbye to All That.” Didion recalls hearing a popular song after she’d lived in New York for some time, she relates how the lyrics of the song affected her when she heard it and what she thinks about them in the narrative present: “…there was a song on all the jukeboxes that went ‘but where is the school girl who used to be me,’ and if it was late enough at night I used to wonder that. I know now that almost everyone wonders something like that, sooner or later…” (226). Here, “then” is expressed in the “used to be me” of the lyrics and echoed in “I used to wonder.” This is followed by “I know now,” which concisely juxtaposes, as Glover had said, the way Didion thought at the time of the experience and the way she thinks at the time of writing.

In the second paragraph of “Goodbye to All That” Didion uses a then/now construction when she reflects on how she had been sick in bed for three days after her arrival in New York, laid up in a hotel room with a broken air conditioner. She writes that she never called the front desk to have the air turned off because she wasn’t sure how much to tip the person who would come to fix it. She reflects, “was anyone ever so young? I am here to tell you that someone was” (227). When using then/now constructions, Didion tends to vary her word choice. That is, she doesn’t exactly say “Then I was young, but now I am old,” but she repeats this sentiment throughout her essay using different phrases and constructions. Often she expresses “then” through the past tense, and will follow that implicit “then” with an explicit “now.”  For example, close to the end of the essay, as Didion’s time in New York is nearing its end, she contrasts two “thens” and a “now”: “I had never before understood what ‘despair’ meant, and I am not sure I understand now, but I understood that year” (237). Here, “before” and “that year” express two previous times with a “now” in between. By juxtaposing a happier “before,” a despairing “that year,” and a happier “now,” Didion book-ends a particular time, thereby showcasing how she was affected by staying too long in New York.

In the final paragraph Didion is more direct in using the then/now construct than elsewhere. She writes: “All I mean is that I was very young in New York, and that at some point the golden rhythm was broken, and I am not that young any more” (238). Here Didion expresses “then” through “I was” and expresses “now” through “am not/any more.” This passage also reveals how crucial the then/now construct is in conveying the central thought of Didion’s essay, and exemplifies how then/now constructs are a key component of the personal essay as a form, which often explores a past experience through a present-time lens.

As I was looking for then/now constructions I noticed another time control technique that Didion often employs. When transitioning from a scene in the narrative present to a past scene or when contrasting present and past, Didion often uses a phrase to fade into the past. For example, in the first paragraph she begins the first sentence in the “now” but transitions to the past with the phrase “I can remember”: “It is easy to see the beginnings of things, and harder to see the ends. I can remember now…when New York began for me…” (225). Didion starts the second section in a similar way: “In retrospect, it seems to me that those days before I knew the names of all the bridges were happier than the ones that came later” (227). And again at the start of the second paragraph of the second section: “I remember once, one cold bright December evening…” (227). By using what I came to think of as reflective fades, Didion transitions the reader smoothly into another time. “I remember” is used most often and appears in various iterations: “I can remember now” is used once, “I remember once” is used once, and “I remember” is used three times. Additionally, “in retrospect” and “I recall” are both used once in the essay.

It occurred to me that White’s approach to the then/now construct would likely differ from Didion’s because most of his essay is set between one distinct past time and one habitual past time with very little “now.” And whereas Didion’s essay focuses on contrasting the relatively distant “then” of her youth in New York and the more recent “then” of her aging out of New York with the “now” of the narrative present, White’s essay is about how the lake of his youth and the patterns of life are unchanging, how “then” is just like “now”; at moments it almost is “now.” However, I recalled that there are some incidents of contrast in “Once More to the Lake,” times where White notices a few small changes around the lake and in society and also notices how he has changed. I wondered if he uses then/now constructions to show these contrasts.

Essays of E.B. White cover image

I didn’t have to look far for an answer, and I found that White’s then/now constructions do appear differently than Didion’s. In the first paragraph White recalls how after his family’s first vacation “none of us ever thought there was any place in the world like that lake in Maine.” After a brief sentence about how the family returned to the lake, he contrasts “then” when he preferred the lake to all other places with: “I have since become a salt-water man…” (533). This is White’s clearest use of the then/now construct to show how he changed over time, however White does use similar constructs to describe the few ways in which the lake had changed. For example, White recalls that when he was a child and his family visited the lake, arriving “had been so big a business in itself.” A farm wagon would pick them up at the train station, and they’d load all of their trunks and head for the lake where they were greeted by other campers with “shouts and cries” (536). White writes, in a parenthetical sentence, “(Arriving was less exciting nowadays, when you sneaked up in your car…and in five minutes it was all over, no fuss, no loud wonderful fuss about trunks)” (536). Here, White uses the past perfect tense “had been” to indicate “then” and juxtaposes it with “nowadays.”

In the next paragraph White contrasts another difference at the lake with a then/now construct as he talks about how outboard motor technology had advanced:

The only thing that was wrong now, really, was the sound of the place, an unfamiliar nervous sound of the outboard motors. That was the note that jarred, the one thing that would sometimes break the illusion and set the years moving. In those other summertimes all motors were inboard; and when they were at a little distance the noise they made was a sedative, an ingredient of summer sleep. (536)

The word “now” is contrasted with the temporal prepositional phrase “in those other summertimes,” which are “then.” As in the example from the essay’s first paragraph, White spreads his now/then construction over three sentences, with a descriptive sentence between the times he’s contrasting. I noticed as I was looking for now/then constructions that White also uses reflective fades but in a slightly different way from Didion because he only uses the narrative present in the first two paragraphs. In the second paragraph, White writes, “I guess I remembered,” and then again, “I remembered” (533), and then later, “I kept remembering all this,” “I would remember,” and “I kept remembering everything” (536-537).

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Meta-text

Syntax certainly added some fireworks to time control and began to connect the chronology of a story to the meaning of a story. However, I couldn’t help but wonder: Is time control really just about grammar? Is it all parts of speech, word choice and order, and juxtaposing then with now? I referred again to Glover’s letter and saw one final time control technique on his list, something he called “meta-text.” Meta-text, Glover said, “comments on memory or time and tells the reader how the text is organized in terms of time.” So meta-text tells the reader how time functions within the essay and how it functions for the narrator or characters within the essay. It seemed too good to be true, this claim that a writer would explicitly tell readers how to read their essay. And surely, I thought, I would have noticed the first ten or so times I read White’s and Didion’s essays if they had. Yet back I went for another reading of “Goodbye to All That.”

To my chagrin I saw Didion’s meta-text had been there the whole time, plain as print in the first two sentences of the first paragraph of “Goodbye to All That”:

It is easy to see the beginnings of things, and harder to see the ends. I can remember now, with a clarity that makes the nerves on the back of my neck constrict, when New York began for me, but I cannot lay my finger upon the moment it ended, can never cut through the ambiguities and second starts and broken resolves to the exact place on the page where the heroine is no longer as optimistic as she once was. (225)

This passage illustrates how meta-text can either comment directly on how time flows within the narrative or refer to how memory functions for the writer. For example, when Didion writes, “It is easy to see the beginnings of things, and harder to see the ends” and that she can “never cut through the ambiguities…to the exact place on the page where the heroine is no longer” optimistic, this informs the reader that Didion’s essay has a clear beginning, but otherwise it lacks a linear chronology. There is no decisive climax, but rather a series of events that move forward and backward in time, and are “ambiguous” but somehow lead to the end. And when Didion writes that she can “remember now with a clarity that makes the nerves on the back of my neck constrict,” this tells the reader how memory functions for Didion, and sets up an expectation for scenes to be written with detailed precision.

In fact, this is how “Goodbye to All That” reads. The essay starts with this reflective, self-referential text and shifts to the scene where the essay’s action clearly begins, her arrival in New York. She describes her arrival with clarity, as predicted, noting that it was her first time in New York, what age she was then, what model plane she arrived in, what terminal she landed at, what she was wearing, how she’d felt about what she was wearing at two separate times (“…a new dress which had seemed very smart in Sacramento but seemed less smart already…” [225-226]), how the air felt and how it smelled, and how she felt internally about her arrival all in the third sentence of the essay. In the fourth sentence she jumps ahead in time (using the temporal adverbial phrase “some time later”) to when she listened to a popular song playing on jukeboxes on the upper East Side and felt nostalgic for her younger self, and then jumps to the narrative present (using a now/then construction previously examined) to comment on her past feelings. This non-linear time flow, which shifts from the present to a distant past, to a more recent past, and back to the present, is coherent for the reader because Didion explains at the outset of the essay that this is what the reader should expect.

Didion uses meta-text to illustrate both time-flow and the workings of memory twice more in “Goodbye to All That,” at the beginning of the second section and at the beginning of the third. In the second sentence of the second section Didion writes:

Part of what I want to tell you is what it is like to be young in New York, how six months can become eight years with the deceptive ease of a film dissolve, for that is how those years appear to me now, in a long sequence of sentimental dissolves and old-fashioned trick-shots—the Seagram Building fountains dissolve in snowflakes, I enter a revolving door at twenty and come out a good deal older, and on a different street. (227)

Didion begins again with meta-text, explaining that the essay flows through eight years and passes from year to year and scene to scene with the “ease of a film dissolve.” She then refers to her own memory, stating that the eight years she was in New York are like a montage of “sentimental” fades. The next paragraph begins with Didion bringing a friend to a party one December evening to see new faces (227). The next paragraph is about how Didion “was in love with New York,” and she recalls walking around one twilight in spring eating a peach, and she recalls getting her first job in the big city, and peering into the windows of brownstones in the winter (228-229). Sentimental scenes dissolve into each other that are seemingly uncorrelated and decidedly unchronological.

At the beginning of the third section Didion writes from the narrative present that when she remembers New York, “it comes in hallucinatory flashes, so clinically detailed that I sometimes wish that memory would affect the distortion with which it is commonly credited” (233). As with the two previous examples of meta-text, Didion restates that the sequence of events is non-linear and instead of being driven by chronology, her essay pops with “hallucinatory flashes.” Didion also reiterates that her memory is precise and scenes, however hallucinatory, are “clinically detailed.”

As promised in the essay’s initial meta-text, Didion is unable to identify at what point she was “no longer as optimistic” as she had been, and the third section ends with Didion still enjoying parties. She lists various sorts of parties she enjoyed and says it was a very long time before she “began to understand…that it is distinctly possible to stay too long at the Fair” (236). Then the fourth section begins: “I could not tell you when I began to understand that. All I know is it was very bad when I was twenty-eight” (236). In the first paragraph, Didion describes how time flows in her essay, says that the basic chronology is non-linear, and that scenes, though perhaps ambiguous or appearing in a broken sequence, are written with vibrant sensory details. Additionally, she predicts that there will not be an “exact place on the page” where her transformation from young and optimistic to older and less optimistic would take place, and so readers are prepared when Didion jumps from enjoying being young in New York to suddenly feeling “very bad” at twenty-eight.

Is White as explicit as Didion about how time flows in “Once More to the Lake”? And does he also tell the reader how time and memory function for him as the narrator? Again, I didn’t have to look far for an answer. White’s first use of meta-text appears in the second paragraph. He writes:

I wondered how time would have marred this unique, this holy spot—the coves and streams, the hills that the sun set behind, the camps and paths behind camps. I was sure the tarred road would have found it out, and I wondered in what other ways it would be desolated. It is strange how much you can remember about places like that once you allow your mind to return into the grooves that lead back. You remember one thing, and that suddenly reminds you of another thing. (533)

White uses meta-text to inform readers that he will be comparing the lake of his childhood with how the lake is in the narrative present, and will thereby judge if time is a force that only and always mars and desolates. Like Didion he comments on how memory functions for him, saying one memory sparks another memory. However, unlike Didion he is not only interested in how time has affected him, but in how time has affected the lake. In this respect the lake itself becomes a character in his essay and so White entwines how time affects both himself and the lake.

White uses meta-text again in the fourth paragraph, where he writes that as soon as he and his son settled into camp he could tell “that it was going to be pretty much the same as it had been before” (534). The sameness of the lake and the smell of the camp and the presence of his young son warp time for White. Of his son he writes:

I began to sustain the illusion that he was I, and therefore, by simple transposition, that I was my father. This sensation persisted, kept cropping up all the time we were there. It was not an entirely new feeling, but in this setting it grew much stronger. I seemed to be living a dual existence. I would be in the middle of some simple act, I would be picking up a bait box or laying down a table fork, or I would be saying something, and suddenly it would be not I but my father who was saying the words or making the gesture. It gave me a creepy sensation. (534)

This “simple transposition” sets up the conflation of past and present time that occurs in the following scene when White takes his son fishing. While the two are on a boat with their rods in the water, a dragonfly lands on the tip of White’s rod, just as he recalled had happened when he went fishing as a boy. This occurrence confirms for White that “there had been no years” between the trips of his childhood and the trip with his son, a sentiment which he expresses two more times before they pack up and quit fishing. Then when White and his son go up to dinner that evening at a farmhouse he notes that “the waitresses were the same country girls” as had served him as a child, “there having been no passage of time.” This is followed by perhaps the best remembered passage in “Once More to the Lake,” which also is a piece of meta-text and could serve as the essay’s treatise on time:

Summertime, oh, summertime, pattern of life indelible, the fade-proof lake, the woods unshatterable, the pasture with the sweetfern and the juniper forever and ever, summer without end; this was the background, and the life along the shore was the design, the cottagers with their innocent and tranquil design, their tiny docks with the flagpole and the American flag floating against the white clouds in the blue sky…This was the American family at play… (535)

This reflection, which comes about halfway through the essay, also cues the reader that White’s twining of himself and his son begins to unravel. Summertime, the woods, the lake: these provide the unchanging background. But the design does change somewhat over time: the waitresses have clean hair, the boat motors are different, the roads are tarred, the paths are for cars rather than horse-drawn carts, and White has grown older. The “simple transposition” which carries White back to his boyhood also places him in the role of the father, and in this role he can feel himself falling away from the vivacious current of life. When White’s son and several other campers decide to go for a swim after a thunderstorm, White remains on shore. He watches as his son pulls on wet swimming trunks and the essay ends: “As he buckled the swollen belt, suddenly my groin felt the chill of death”(538).

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Conclusion

That was it, I’d gone through Glover’s entire list of time control techniques and found that both Didion and White use every single one to manage, manipulate, and comment on the flow of time in their essays. Some techniques they use similarly and some techniques they use to produce different effects, but they both use all of them. I was not surprised to see that both writers use time stamps, or that Didion uses more than White as her essay is longer. Nor was I surprised that both writers change between verb tenses to show different sorts of action occurring across different times. I was surprised, however, to see how Didion expresses past scenes primarily in the simple past with frequent jumps to the narrative present, and how White remains almost entirely in the spheres of two past times, which he expresses using distinct forms of the past tense and modal verbs. That both writers use temporal conjunctions and adverbs and temporal prepositional and adverbial phrases was similarly not a surprise, but I was astounded by how often they use them and how often they repeat particular words and phrases; for example, Didion’s tendency to talk about the “first” and “last” time events occurred and White’s frequent use of temporal prepositional phrases, like “in the morning.”

I was somewhat familiar with then/now constructions before writing this paper, but had previously thought of them as a tool of narrative voice, not of time flow. Yet when I considered then/now constructions as a time control technique it became clear that the desire to look at their past experience through the lens of their present self is the defining paradigm and driving force of both White’s and Didion’s essays, and perhaps of personal essays in general.

What was most surprising was that both writers use meta-text to guide readers by describing how time flows in their essays, how scenes are sequenced, and what to expect of the essays’ basic chronologies and conclusions. For example, Didion explains that she is examining a period of eight years, and so her essay is predictably longer than White’s, who is recollecting a week-long trip and comparing it with the month-long trips of his childhood; Didion writes that her essay flows like a series of film dissolves and writes her scenes accordingly; White writes of how one memory sparks another memory, and so he describes a fishing scene with his son that reminds him of fishing when he was a boy.

It was early in June when I’d started wrangling with time control, unsure then of what the technique was even called, and it was late September when I finished my study. I reached for the same drab, fleece blanket that I had wrapped myself in that chilly morning a few months ago as I headed out to my patio, hot coffee in hand, to marvel at all I’d learned from two little essays by White and Didion. Time control techniques pervade “Goodbye to All That” and “Once More to the Lake.” Didion and White use time flow not only to clearly and cleanly move between scenes and events in their essays, but also to convey how time affected them as children, spouses, parents, and as writers, and to share the lessons they learned from memory. Time control in the personal essay is much more than a technique for establishing chronology; it is a vehicle for theme, an expression of mental and emotional evolution, and when properly managed, it makes writing soar. For readers the effect of masterful time control is not too far off from a ride in H.G. Wells’s time machine.

—Rosanna Gargiulo

Works Cited

Didion, Joan. “Goodbye to All That.” Slouching Towards Bethlehem. Simon and Schuster, 1979, 225-238.

Glover, Douglas. “Packet response.” Received by Rosanna Gargiulo, 8 August, 2016.

White, E.B. “Once More to the Lake.” The Art of the Personal Essay: An Anthology from the Classical Era to the Present, edited by Phillip Lopate, Anchor Books, 1995, 533-538.

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Rosanna Gargiulo graduated from UMass Amherst with a B.A. in Journalism in 2013. She lived in the Balkans, southern Africa, Mexico, and beyond, before returning to her home state, Maine, to work at her local newspaper. She currently lives in Bath with her husband and is a student in the Vermont College of Fine Arts MFA in Writing program. She likes to go for long, muddy walks along the coast with her three rescue mutts.

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May 022017
 

Michael Carson

http://wp.me/p1WuqK-kRQ

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“An artist always incites insurrections among things,” says the Russian Formalist Viktor Shklovsky in his essay “The Structure of Fiction.” This is a grand claim. It makes art seem like the exception to everything else in experience—the things. I can’t speak for all aspiring writers, but I imagine this is what draws many would-be writers to literature in the first place: the impression that art is exceptional in its relationship to experience, that literature, unlike every other endeavor, allows the writer to shake things up, to rescue the magical from the mundane. So how do we make Shklovsky’s declaration less abstract? How do beginning writers—and here I very much include myself—accomplish this radical transformation and shake up the world around them to the point of insurrection?

Simply put: Artists shake things up through conflict and the primary vehicle of conflict is plot. While at first glance this response might seem reductionist or even crude when speaking of something exceptional like art, it is actually crude and reductionist for beginning writers to ignore what is in some respects the most difficult aspect of craft. A writer can do little with his or her brilliant ideas, characters, sentences or settings (much less start an insurrection) unless they appreciate what plot is and how effective stories require plotting.

Douglas Glover’s essay “How to Write a Short Story,” in his Attack of the Copula Spiders: Essays on Writing, describes a short story as a “narrative involving a conflict between two poles (A vs B).” This conflict, he argues, “needs to develop through a series of actions in which A and B get together again and again and again.” He describes this conflict as “a desire-resistance pattern.” A character desires something and another character resists (sometimes this can take place internally too, within a single character). According to Glover, this “central conflict is embodied once, and again and again, such that in the successive revisitings we are drawn deeper into the soul or moral structure of the story.” These articulations give a story “a rhythmic surging quality,” and they make possible the aesthetic space for the writer to “go deeper into the moral and spiritual implications of the conflict.”

This essay examines how three canonical writers—Flannery O’Connor, William Trevor, and John Cheever—arrange a conflict between two poles to systematically draw the reader deeper into the “soul or moral structure of the story.” Through the course of the essay, we will see that even though each selected story possesses a unique conflict and writing style, all three possess congruent desire-resistance patterns, and each of these patterns provides its artist the aesthetic space necessary to incite insurrection.

 

Flannery O’Connor’s “Greenleaf” begins when a bull wakes up Mrs. May. The next morning Mrs. May enlists the help of Mr. Greenleaf, her farm foreman, to remove the bull from her property. She finds out from her sons, Wesley and Scofield May, that the bull is actually the property of Mr. Greenleaf’s sons, O.T. and E.T. Greenleaf. She lets Mr. Greenleaf know this and reminds him of her order to get rid of the bull. She goes to the property of O.T. and E.T. Greenleaf to let them know their bull is on her property. She cannot find them and tells the boys’ foreman to give them a note telling them about the bull. Back at her farm, Mrs. May’s boys mock her. She cries. The boys fight each other, upending the kitchen table. Mr. Greenleaf appears at the door, asks if everything is alright, and Mrs. May reminds Mr. Greenleaf to get rid of the bull. The bull returns to her window that night. The next morning, Mrs. May orders Mr. Greenleaf to get into her car. They drive to the pasture and Mr. Greenleaf leaves the car to kill the bull. He and the bull disappear into the forest. Mrs. May follows him into the pasture and then gets out of the car to wait. She falls asleep on the hood of her car. She wakes up to the sight of the bull charging at her. The bull gores her. Mr. Greenleaf appears and shoots the bull in the eye four times.

Flannery O’Connor

“Greenleaf” is a 9,500 word story related in the close third person. O’Connor divides the text into three sections, the first relatively short and the next two very long. Unlike the other authors we will look at, O’Connor’s section breaks do not denote a jump forward in time, or, more precisely, there is no chronological pattern to her section breaks: she has no problem jumping forward in time—like say to the next morning—within a section as well as between them. This is all to say the logic of the section breaks is different in O’Connor. The first short section details her first confrontation with the bull. Only in the second section does she confront Mr. Greenleaf and begin the desire-resistance pattern in earnest. Mrs. May wants the bull off her property and Greenleaf does not want to remove the bull from the property. He resists her desire through the second section. In the third section she takes active measures to remove the bull herself (but, interestingly, not actually do the work herself), first by going to O.T. and E.T. Greenleaf’s property and then by picking Mr. Greenleaf up in her car and forcing him to go the pasture with her.

O’Connor delays the actual conflict—the literal back and forth between antagonist and protagonist—until the second section. And yet O’Connor definitively establishes the conflict’s parameters through both backfill and the conditional tense. After being woken up by the bull, Mrs. May reflects on how for “fifteen years” she “has been having shiftless people’s hogs root up her oats, their mules wallow on her lawn, their scrub bulls breed her cows.” She blames Mr. Greenleaf, her foreman, for this ongoing oppression, and then imagines what would happen if she went to wake Mr. Greenleaf up just then and what he might say. “If hit were my boys,” says the imagined Mr. Greenleaf, “they would never have allowed their maw to go after hired help in the middle of the night.” This not only helps frame the conflict but marks the first iteration of a curious form of “recycling” where Mrs. May imagines the desire-resistance pattern and the different ways she might end it by telling Mr. Greenleaf what she really thinks of his wife (an eccentric religious enthusiast).

After this two-page section—again, much shorter than the other two sections—O’Connor places her two characters in the same room, establishing and clearly delineating the desire-resistance pattern: “The next morning as soon as Mr. Greenleaf came to the back door, she told him there was a stray bull on the place and that she wanted him penned up at once.” Mr. Greenleaf immediately begins his resistance, which takes a shape of a denial that there is any kind of conflict at all: “Done already been here three days.” Much of the story’s comedy derives from this passive–aggressive (or, in Mrs. May’s eyes, just plain aggressive) refusal by Mr. Greenleaf to admit to a problem. The scene’s internal calculus plays with this too, as Mr. Greenleaf, standing on her back porch, speculates, “He must be somebody’s bull,” rather than answer her questions. The reader also waits for Mr. Greenleaf to simply admit there is a problem.

The scene moves inside to an “off-angle” interaction, this time between Mrs. May and her two sons, each boy uniquely horrible. They are, in a sense, active manifestations of Mr. Greenleaf’s reproof, his resistance, which boils down to the fact that no matter how lazy or troublesome he might be, at least he’s not as bad as her two sons. Inside the house, they threaten to marry a woman like Mrs. Greenleaf when Mrs. May dies and gleefully let her know that the bull is actually the property of Mr. Greenleaf’s sons. This is a long careful delay—note that the Russian formalist writer Shklovsky considers digression the essential component of narrative art—with much backfill on how Mr. Greenleaf was hired and a fleshing out of the two worthless sons, but the scene ultimately returns back to Mr. Greenleaf outside the house (never in the house) and Mrs. May ordering Mr. Greenleaf to put the bull “where he can’t bust out.” Mr. Greenleaf resists, comically, given the desire-resistance pattern, stating the obvious—“he likes to bust loose”—not answering, and not clearly saying whether or not he will follow her order.

At this point of the story the conflict and plot has consisted of the single—if prolonged and disjointed—interaction, this resistance on Mr. Greenleaf’s part to admit there is a problem with the bull or do anything about the problem. The first battle is undecided thanks to Mr. Greenleaf’s refusal to admit a conflict. Given the amount of characters involved—Mr. Greenleaf, Mrs. May, the two pairs of sons, and Mr. Greenleaf’s wife—a less experienced reader might get distracted here by not only the characters, but also the pervasive and pronounced symbolism. Does the derelict bull represent faltering class hierarchies in the post-World War II United States’ South? Is the bull emblematic of Mrs. May’s denial of Christ, her faux-Christianity and unacknowledged hubris? Why did O’Connor create doubles of the antagonist—the successful Greenleaf sons—in her own unsuccessful sons? Yet all of these questions should be put aside: they are reformulations of the basic conflict between Mrs. May and Mr. Greenleaf over the literal fate of the bull. The conflict is the story. It is dangerous to mistake ancillary material and symbolic implications for the backbone plot (though these too are crucial); if we do, we risk missing the central narrative importance of the interactions between Mrs. May and Mr. Greenleaf.

Thus we should take Mrs. May’s movement in the second scene, her journey over to the modern farm of Mr. Greenleaf’s sons, as a plot-step variation, a delay and reformulation of the actual conflict between Mr. Greenleaf and Mrs. May (Douglas Glover calls this movement a “stepping out,” a delay in an event by creating steps within the event). That the Greenleaf boys are not home (we never meet them in the story) frustrates again Mrs. May’s desire to get rid of the bull; yet only when she returns to her own house, and after getting in another fight with her own boys, does Mr. Greenleaf appear on her back porch. What follows is the second tangible iteration of the conflict—remember that these plots almost always come in threes—and Mrs. May orders Mr. Greenleaf again to get rid of the bull, this time threatening to shoot the bull, upping the ante really and signaling conflict-driven change and development in Mrs. May’s character. Mr. Greenleaf resists first by pushing the climax off, “Tomorrow I’ll drive him home for you,” and, when she shuts that down by repeating her order, through silence (this seems to be the go-to resistance reformulation in the modern short story: all three authors examined in this paper resist through silence in the second iteration of their respective desire-resistance pattern).

Mr. Greenleaf only breaks this silence not by discussing the bull, but by interrupting Mrs. May’s self-pity “quick as a striking snake” (a favorite O’Connor simile) to point out that she has two boys to do what she is asking him to do (again, the unstated assumption that Mrs. May can’t get rid of the bull herself, or without the help of a man, allows for the basic conflict and forces the reader to wonder if there is a sexual element to this conflict). The scene moves again to her bedroom and the nighttime and the bull munching away just outside the window. There is no line break here like the line break after the last nighttime interaction with the bull. This would possibly imply that O’Connor sees this entire scene, from the movement to the boy’s house to the next morning and the climatic confrontation with the bull, as one dramatic unit. The next morning Mrs. May arrives at Mr. Greenleaf’s house, “expressionless,” ordering him to “go get your gun.” Mr. Greenleaf reluctantly retrieves the gun and Mrs. May smiles at the thought that he would like “to shoot” her “instead of that bull.”

The third and final instance of the conflict, the climax, takes place in a secluded environment; the protagonist and antagonist are alone in a new story setting where the antagonist forces the desire to its conclusion. The bull must die. Mr. Greenleaf, characteristically, avoids the problem and runs the bull off into the woods. Determined to make this the climax of their long-running fifteen-year war, Mrs. May exits the car and waits on the hood. She falls asleep (again—she sleeps a lot in this story) and with the sleep comes the impression of a sun like a bullet bearing down on her head (the third instance of this image in the story). Also in these final moments we have more speculation from Mrs. May where she imagines the climax and resolution turning out differently, with Mr. Greenleaf gored by the bull and her being sued by Greenleaf’s sons. She calls this “the perfect ending.”

It is not in fact the “perfect ending.” It is the perfect ending for Mrs. May, who sees her entire life as one perceived injustice after another, an endless series of insults against her, her race, her class and her work ethic. The actual perfect ending, the ending necessitated by the story O’Connor constructed, immediately follows the imagined ending: the bull crosses the pasture toward her ‘in a slow gallop” and “buries his head in her lap” like “a wild tormented lover” (a deft reformulation and return the “uncouth country suitor” outside her window in the story’s first pages, and the ongoing “courtship” between her and Mr. Greenleaf). “Here he is, Mr. Greenleaf!” she shouts just before the goring, remaining “perfectly still, not in fright, but in freezing unbelief.” Her unbelief dooms her in a literal sense—I can’t help but feel this a joke from the Catholic O’Connor here—but the conflict has already been settled earlier, when Mr. Greenleaf runs the bull into the woods (the sight of Mr. Greenleaf’s wife’s ecstatic religious rituals).

What always fascinates me about this story’s ending is the way Mrs. May’s literal perception is changed by the bull’s horns. The horns lift her up and she continues to stare “straight ahead” but “the entire scene in front of her changed”; the tree line becomes “a dark wound in a world that was nothing but sky,” and Mrs. May has the look of “someone whose sight has been suddenly restored but who finds the sight unbearable.” She then, from this upside down position, and even though she doesn’t face Mr. Greenleaf, watches Mr. Greenleaf approach with the gun, “outside of some invisible circle, the tree line gaping behind him and nothing under his feet.” This marks a return to Mr. Greenleaf’s earlier trait, his sullen-shy tendency to create an invisible circle around those to whom he speaks. (Also fascinating is Mrs. May’s imagined switch to Mr. Greenleaf’s point of view in this ending where he witnesses her “whispering some last discovery into the animal’s ear.”)

Sometimes when reading O’Connor I feel overwhelmed by the “on-the-nose” nature of her symbolism and thematic pretensions. This bull must then be another moment of that “grace” peculiar to the Catholic imagination, right? The scenario seems to have all the subtlety of a symbol for Truth or Unresolved Issues running up and attacking the protagonist (which is exactly what happens). But this reading willfully and lazily misses the carefully detailed desire-conflict resistance pattern that makes up the actual story. In a book review of William Lynch’s Christ and Apollo, O’Connor herself defines “genuine tragedy and comedy” as the place where “the definite is explored to its extremity and man is shown to be the limited creature he is, and it is at this point of greatest penetration of the limited that the artist finds insight.”

The key word here is “definite,” and with the definite comes a refusal to let one habit of perception—or urge to reduce the story to one meaning or another—dominate the other levels, levels of structure and craft O’Connor worked very hard to make definite; it is to ignore the desire-resistance pattern that actually frames the story and makes it a story at all. Though new writers often claim to resist detailing the specifics of plot out of a fear of unfairly “reducing” the story to the banal and everyday, the temptation to reduce a story to a certain reading or moral is actually strongest when we dismiss the importance of craft in the articulation of a writer’s vision. In other words, the awful vision of grace in “Greenleaf” is created not by the fact that O’Connor set out to write about the awe-filled vision of grace but because she found an interesting desire-resistance pattern and followed this desire gracefully through to its awful conclusion.

 

William Trevor’s “Teddy-bears’ Picnic” begins with an argument between a newlywed couple, Edwin and Deborah Chalm. Edwin, a stockbroker, does not want to go to a Teddy-bears’ Picnic, a get-together Deborah and her childhood friends attend every few years at the home and gardens of an elderly couple, the Ainley-Foxletons. Due to planning the Teddy-bears’ Picnic, Deborah forgets to cook Edwin dinner. Deborah attempts to make dinner. They argue more. Edwin drinks excessively. Edwin apologizes the next morning. They drive out from London to Deborah’s childhood neighborhood on a Friday, spend Saturday with Deborah’s parents, and attend the picnic at the Ainley-Foxletons’ on Sunday. At the picnic, after Deborah thanks Edwin for attending, Edwin excuses himself from the garden picnic to go to the bathroom. He drinks excessively in the house. He remembers a time from his youth when he made a spectacle of himself at a party. He goes outside and pushes Mr. Ainley-Foxleton over the edge of the lawn and the old man cracks his head on a sundial. Edwin returns to the picnic. Mrs. Ainley-Foxleton discovers her husband’s body. Edwin leads the picnickers over to the corpse, declares Mr. Ainley-Foxleton dead, and takes charge of the proceedings.

William Trevor book cover image

“Teddy-bears’ Picnic” is about 9,000 words long and told through the close third person, switching from the consciousness of Edwin to Deborah and then back to Edwin again, with occasional rare moments of non-POV-dependent authorial summary. There are five sections to the story, each divided into substantial chunks of backfill and dialogue. Trevor’s “Picnic” features a protagonist who resists the action of the antagonist. But here it is Edwin, the husband, who resists his wife Deborah’s desire to go the Teddy-bears’ Picnic. The story’s first section, the longest, initiates this confrontation; the second provides backfill on the couple’s relationship and a short dialogue confrontation; the third, the shortest, escalates the conflict between the couple (if in a somewhat indirect way); the fourth consists of an extended memory/backfill from Edwin and the climatic action; the final scene provides aftermath by detailing the consequences of the already settled desire-resistance pattern.

Trevor registers Edward’s resistance to his wife’s desire to go to the Teddy-bear Picnic in the story’s very first line: “I simply don’t believe it,” Edwin asks, “grown-up people?” She tries to explain the Teddy-bears’ Picnic tradition, to continue to push her desire, in a way that hints at the fundamental miscommunication between the two personalities, which will surface again and again in the story. “Well,” she says, “grown-up now, darling. We weren’t always grown up.” This disconnect between Edwin’s understanding of maturity and his wife’s frames the desire-resistance pattern. Edwin’s next response—“I’ll absolutely tell you this. I’m not attending this thing”—makes obvious Edwin’s violent resistance to what Deborah sees as a perfectly harmless desire.

Through the course of the apartment scene—snippets of dialogue followed by a paragraph or two of summary, both of the principles drinking more and more—the desire-resistance pattern surfaces again and again. Deborah cannot understand why her husband would refuse to have “a bit of fun” while Edwin cannot understand how mature adults could “call sitting down with teddy-bears a bit of fun.” The idea of maturity pops up again and again, expertly “loaded”—to reference another Douglas Glover analytical term—through significant history, juxtaposition and word splintering, but the reader does not lose sight of the plot due to the recursive dialogue exchanges, all of which circle around whether or not they will go to the Teddy-bear’s Picnic. The scene ends with a silent truce. We are told that the next morning Edwin apologized, the implication being the first round of combat has gone to Deborah rather than Edwin.

In the next scene, Trevor’s continues his deft POV switches, showing, somewhat comically, how one side does not see this conflict as a big deal while the other views sitting down with teddy-bears as an existential insult. Because Deborah finds “the consideration of the past pleasanter than speculation about the future,” she spends much of the scene providing relationship backfill and seeing “little significance” in their quarrel over the picnic. Edwin, for his part, thinks about the future, his persistent anger, and how he can give the marriage “a chance to settle into a shape that suited it.” Yet only at the end of the scene, on the way to the weekend getaway—and in yet another admirably concise dialogue exchange—does Trevor push the conflict to the surface again. Deborah interrupts Edwin’s story about the stock exchange to tell him the story of Jeremy’s “Poor Pooh,” her adult male friend’s teddy-bear. Edwin “didn’t say anything.”

This silence constitutes the second movement in the conflict. Edwin’s passive resistance, his stony agreement to attend yet not substantively interact with others at the Picnic (a sort of adult pout really), colors both the second scene and the third. It persists through his arrival at the elderly couple’s house and as they sit down for the Teddy-bears’ Picnic. Edwin drinks heavily through this scene and privately rejoices that he “smelt like a distillery” during his introduction to the elderly Mrs. Ainley-Foxleton. He internally mocks the ridiculousness and ugliness of all of Deborah’s friends. He only breaks this silence at the end of the third scene, when he tells Deborah, he has “to go to the lav,” after Deborah whispers, “thank you.” (Interestingly Edwin makes no comment about and does not seem to have an opinion of the elderly Ainley-Foxleton, who will ultimately bear the brunt of Edwin’s rage.)

Edwin’s interpretation of his wife’s thank you is of course couched within his understanding of the desire-resistance pattern, which is to say Deborah sees Edwin’s attendance as a nice gesture, a moment of loving appreciation and give-and-take between understanding spouses, while he takes her words for a sinister reminder of his earlier humiliation. It also provides for the movement toward the third stage of the desire-resistance plan and the story’s climax; Edwin has in a very literal sense left the Teddy-bears’ picnic. It does not matter that he is just going to the bathroom and that this would seem a perfectly natural thing to do; within the framework of the short story this movement constitutes a definitive and provocative action, yet another resistance on Edwin’s part, and the necessary plot step that brings about the third, climatic confrontation.

After an extended reverie on Edwin’s part, where he drinks the Ainsley-Foxton’s whiskey and reflects on a time in his youth when boredom, anger, and a need to come out on top pushed him to ruin a perfectly pleasant garden party—“within minutes it had become his day”—Edwin goes out to the lawn and tells Mr. Ainsley-Foxton that he sees fungus on the lawn below the rockery. He then murders Mr. Ainsley-Foxton. Deborah is not present in this scene but Edwin’s action cannot be interpreted as anything other than a violent resistance to her original desire. They are still within the same “room”—the sentimental and, to quote Edwin, “gooey,” world of the Ainsley-Foxton’s, Teddy-bears, and Deborah’s childhood (and, by implication, perpetual childhood, the antithesis of Edwin’s stockbroker “manliness”). Whatever the aftermath’s specifics, the consequences, the Teddy-bear Picnic will come to an end and no one will ever again—at least within Deborah’s circle of friends—be attending any Teddy-bears’ Picnics.

Trevor’s final section details the moments following the violent act of a protagonist, moments where he waits for the consequences of his actions. Trevor becomes hilariously mordant (and also philosophical) expertly juggling the juxtaposition of nostalgia and fear, violence and maturity, and innocence and experience in Edwin’s reflections on the blissfully unaware picnickers. And yet even though action does occur—Edwin and everyone else hear Mrs. Ainley-Foxleton scream and Edwin takes “charge of the proceedings,” becomes the grown-up in a world defined exclusively by death—this Teddy-bear’s Picnic has already technically ended because Edwin has already categorically and triumphantly resisted his wife’s desire.

The problem for readers like me is that we tend to mistake these endings for the heart of the story, which they are, in a sense. One leaves Trevor’s story impressed not by the conflict between actors, but by the profound emotional effect and intellectual questions the conflict allows. The effect is never simple; it inverts assumptions and resists explication. In a sense that is the “conflict” of literature. Most readers desire human experience be explicable within some heuristic; literature resists, heroically so. These stories are remarkable artifacts of that resistance; and yet they are nothing at all and mean nothing at all without their perfectly explicable internal desire-resistance pattern. All talk of heart and soul and transcendence aside, these stories—to quote Edwin—would be simply “gooey” without a plot to help substantiate them.

 

John Cheever’s “Goodbye, My Brother” tells the story of Lawrence (Tifty) Pommeroy’s visit to Laud’s Head, a summer place on the shore of one of the Massachusetts islands. Lawrence’s family—including the middle brother and story narrator—awaits the brother’s arrival with some trepidation, as Lawrence, the youngest brother, has not visited the family in four years. Lawrence shows up with his wife and two boys, begins complaining about the summer home’s proximity to the shoreline, and refuses to drink with the family. His mother gets drunk. Lawrence goes to bed and the rest of the family goes swimming. The next day Lawrence refuses to play tennis doubles with the narrator and the family goes swimming to escape Lawrence. That night, Lawrence disapprovingly watches the family play backgammon. Later in the week the narrator and his wife help plan a costume “come as you wish you were” dance at the boat club. The narrator tries to convince Lawrence to enjoy himself and attempts to physically force him into the dance. Lawrence resists. Everyone at the party goes swimming. The next day the narrator goes swimming and finds Lawrence on the beach. Lawrence agrees to walk to Tanner’s Point with the narrator along the beach. The narrator confronts Lawrence about his bad attitude. When Lawrence insults the narrator and walks away, the narrator hits him on the back of the head with a root. The narrator goes swimming. A bloodied Lawrence returns to the summer home and tells his family he is leaving. Lawrence leaves.

John Cheever

“Goodbye, My Brother” is about 8,000 words and is told in the first person, from Lawrence’s brother point of view. Cheever breaks up the story into six sections using line breaks. The major conflict—Lawrence (or Tifty) wants to show his disdain for his family; his family resists—takes places in sections three, four, and five. These major conflict sections take place chronologically, over the course of the two-week family vacation. The first section provides backfill, summary of the family’s history. The final section imagines and reflects on Lawrence’s leaving (aftermath rather than plot). It is important to note that of three stories examined, Cheever’s possesses the most complicated plot structure. Not only is the story told through a narrator who is physically implicated in the desire-resistance pattern only in the story’s second half, but the desirer—Tifty—also expresses his disdain for specific family rituals as well as specific characters. This creates a more elegantly algebraic plot pattern, less A vs B in three different rooms, than A vs X1, and then A vs X2, and then A vs X3. Further, each of these X variables is subdivided into a somewhat consistent pattern of smaller plot iterations—a1, b1, and b3.

The story’s conflict takes a definitive shape about a page into the story’s second section. This scene is defined almost exclusively as a confrontation between Lawrence and his mother, with the other family members watching on. Initially, there is “a faint tension” in the room at Lawrence’s arrival, but Lawrence does not press his disdain on the family and no one actively resists this disdain until Lawrence reappears from a visit to the beach. Here, in a short dialogue exchange, Lawrence’s mother asks Lawrence what he thought of the beach and if he wants a Martini: “’Isn’t the beach fabulous, Tifty?…Isn’t it fabulous to be back? Will you have a Martini?’” She calls him Tifty—one of two family nicknames for the youngest brother; the other is “Little Jesus”—and essentially answers the question she asks for her son, rhetorically providing him an “out,” what he needs to say to elide his four-year separation. Lawrence response—“I don’t care…Whiskey, gin don’t care what I drink. Give me a little rum”—makes clear that he will not fall back into the family banter and habits and has arrived not to rejoin but has come to disapprove of the family. “We do not have any rum,” says the mother with the “first note of asperity.” The narrator then goes on to provide more backfill, to explain Lawrence’s original separation from the family after their father’s death, when Lawrence originally disapproved, when he decided that his mother was “frivolous, mischievous, destructive, and overly strong.”

Unlike the other stories examined, Lawrence’s initial attack seems misdirected. He first gets into a fight with the mother, then makes a snide comment about the sister’s promiscuity, and finally ridicules the dead father’s “damn fool idea to build a house on the edge of a cliff on a sinking coastline.” The scene concludes with the mother getting “unfortunately” drunk and declaring that if there is an afterlife, she “will have a very different kind of family,” one with “fabulously rich, witty, and enchanting children.”

Because Cheever’s story is narrated by a character who has no direct exchanges with Lawrence in the first plot scene, the reader might conclude that this long first family interaction with Lawrence is not plot. This reader would be wrong. Lawrence’s disdain here addresses a particular family pastime—getting together to have drinks—and—with this—the process of coming together, of reuniting after a long separation. Lawrence’s challenges—which come in three neatly forceful dialogue exchanges with the mother—represent an assault on the family’s “delight at claiming a brother,” their efforts “to enjoy a peaceful time,” and, most importantly, their ritualistic drinking, which refreshes “their responses to a familiar view.”

Douglas Glover, in an essay on Alice Munro’s “Meneseteung,” argues that Munro is “almost always precise and transparent in terms of her desire-resistance patterns” because “her story organization is heterodox.” In other words, the more complicated the plot structure, the more important a precisely delineated desire-resistance pattern. This holds true in the first scene of Cheever’s “Goodbye, My Brother.” Because Lawrence is in conflict with an idea or family ritual rather than a specific person and knowing that Lawrence will be conflict with another ritual in the following scene, Cheever must guide the reader carefully through the scene, expertly modulating the conflict’s pressure, insistently reminding the reader of what is in fact at stake. We have seen in the other stories that a desire-resistance pattern tends to work best in three iterations. Cheever knows this, so he gives the reader this three-pronged pattern within the scene itself (think back to the “stepping out” observed in the O’Connor story). Lawrence’s rejection of the family’s ritualistic drinking comes three times—remember the three almost parallel dialogue exchanges?—that leads to the mother drinking too much and insulting the family. The scene itself could be a story. It has its own desire-resistance arc (a+b+c=A (Tifty) vs X1 (family drinking)), one that the consequent scenes (where A will be in conflict with new rituals, new X variables) will reformulate and expand upon.

In the third scene we finally have direct story interaction between the narrator and Lawrence. The narrator asks Lawrence if he wants to play tennis. Lawrence, through indirect dialogue, says “no thanks,” and the narrator excuses Lawrence’s decision because “both he and Chaddy play better tennis than I,” but then, just a few lines later, “Lawrence disappears” when family doubles are about to begin, which makes the narrator “cross.” This frames the later direct confrontation with the narrator and Lawrence—which will be the climax of the story—while carefully and consistently perpetuating the desire-resistance pattern established in the previous scene. Here Lawrence shows his disdain of family tennis doubles, then comments on the house’s specious gentrification—“Imagine spending a thousand dollars to make a sound house look like a wreck”—and finally the family’s eating habits. We have again the three iterations, but this time of three separate family rituals; and yet—since we just had this in the last scene and the key to quality plotting is reformulation, as Viktor Shklovsky says in his Energy of Delusion, plotting requires “inversion and parody”—these three expressions of disdain function as a prelude for the scene’s central dissatisfaction, that is, Lawrence’s disdain for family backgammon (the X2 in the basic plot pattern).

Unsurprisingly, given Cheever’s previous patterning, the backgammon scene-let can be further subdivided into three iterations also (a+b+c) that blooms from the climax of the original three iterations (tennis, house, food):[1] Lawrence watches on with disdain as the narrator plays his other brother’s wife (a), the narrator plays his other brother (b), and finally the other brother plays their mother (c). As the games proceed, the narrator is sure that Lawrence “finds an inner logic” to this innocent family ritual, and “it will be sordid.” He will, according to the narrator, see each loss and victory as evidence of “human rapaciousness,” that they battle not for money, for fun, but for “one another’s souls.” It’s also important to note here that all of this is filtered through the narrator brother, who, importantly, not only internalizes his brother’s criticisms but also interprets and voices them. While one might think that this distancing might mitigate the intensity of the desire-resistance pattern (why not just have Lawrence verbalize these accusations?), the fact that this interior monologue of disdain comes from the narrator’s imagination of Lawrence actually increases the conflict’s intensity. The disdain Lawrence feels for the family is bottled up by the narrator and fermented, and the narrator “resists” Lawrence’s disdain by trying to articulate it, trying to frame it, which again foreshadows his eventual failure.

Lawrence wins this scene’s desire-resistance pattern. He effectively expresses his disdain for this family ritual through silence (which the narrator verbalizes) and then, in the final paragraph, actively states, “I should think you’d go crazy” and “I’m going to bed.” Here, about halfway through the story, we have a seeming break from the desire resistance pattern, as the narrator makes a point to avoid Lawrence over the next few days, to enjoy his vacation and plan for the “Come as You Wish You Were” dance. But this is not an actual break in the plot. Like Mrs. May’s decision to go look for the Greenleaf boys and Edward’s pouting, this is an attempt to resolve the conflict by a new form of resistance (escape). It is another plot step, but one accomplished in the form of a delay (remember Shklovsky on digression and delay). Lawrence might not be physically present or even mentioned through the majority of the scene, but the reader waits for his return, which roars back at the end of this fourth scene with the same puritanical disapproval, this time of the dance party ritual (A vs X3). The narrator resists by pushing Lawrence into the party—the first physical resistance of the story—and Lawrence fights back limply, asking, “Why should I? Why should I?” The narrator returns to the party without Lawrence and they all dance and drink and “chase balloons”—another attempt to escape the conflict, and also the satisfying and logical climax to that scene’s desire-resistance pattern.

The fifth and climatic scene follows the pattern established in the previous scenes, but Cheever adjusts the movement, reformulates it in a way that speaks to the increasing pressure of Lawrence’s disdain on the narrator specifically. It might be useful to think of this in cinematic terms. The first part of the story has a distant shot of the desire-resistance pattern and Cheever moves in closer and closer until the conflict becomes a physical one (a close-up) between Lawrence’s disdain for the family and the narrator’s resistance. This is not to say Lawrence in this final section does not despise a family ritual too. He very much does—he despises the very idea of a beach vacation. After Lawrence’s wife’s vacation laundering affronts the narrator—her “penitential fervor,” iteration “a”—he goes to swim and finds Lawrence at the beach (iteration “b”). He swims with Lawrence watching. Upon exiting, the narrator imagines Lawrence’s criticisms—this again comes in a neat three-iteration cycle; remember that Cheever constantly has the third iteration give birth to a subset of three iterations, like algae blooms of conflict—and the narrator confronts the way Lawrence “kept his head down” as they walk along the beach (iteration “c”). Lawrence responds with the first explicit expression of disdain: “I don’t like it here.”

Following this blunt description of the desire-resistance pattern, the narrator resists verbally by repeating, “come out of it, Tifty.” Lawrence then insults the narrator physical appearance. The narrator strikes Lawrence from behind with a “sea-water heavy” root. This violence comes fast and is surprising, yet at the same time it is expected; through the successful cycles of desire-conflict exchanges, how Cheever reformulates each in their movement toward this particular confrontation, and the fact that the narrator has been verbalizing Lawrence’s disdain for the family through the entire story, it only make sense that the narrator would end up committing violence on a family member and, by extension, on the family.

Why? Because this is the exact pattern established in the first confrontation with the mother and the drinking— her afterlife with “fabulously rich, witty, and enchanting children”—where Lawrence’s disdain for the family produces a disdain for the family from the family itself. This action is a plot twist and yet is also firmly within the established pattern. So too the narrator’s actions after the violence—his binding of the wound, his silence about the action, and his decision to go swimming yet again, to throw himself into that baptismal font, that “illusion of purification,” the one place in the family’s world that Lawrence “neglected to name,” and thus the one place resistant to Lawrence’s powers of “diminution” (one gets the sense that the narrator cannot name it either, and that is what keeps it redemptive and viable even after the events of the story; it is also, of course, where their father drowned—ironic conflict means syntactic excitement!).

In the next scene, the narrator imagines his brother leaving and reflects on the morning’s intensity and wonders whether anything can be done with “a man like that.” He then looks out his window to see the women of the family emerging naked from the water. In terms of story, the sublime imagery and wordplay are ancillary (though no less important). The plot has already ended. The conflict itself came to a conclusion on the beach. Likewise, the narrator’s philosophical ruminations, all the varied reasons he gives for Lawrence’s disposition and disdain, are tempting to privilege (as they come at the end), but this misses the fact that the actual story, the plot, would not work at all if not for Cheever’s determination to follow the original conflict—that of Lawrence’s puritanical disdain for the family—through the course of the story and to let them play out in three similar yet distinct scenes. This nuts and bolts craft substantiates the lyrical prose and philosophical digressions to follow. Missing this craft does not mean we miss the point of the story; it simply means we will likely have a good amount of trouble writing one.

In his Theory of Prose, Shklovsky argues that “art is not a march set to music, but rather a walking dance to be experienced, or, more accurately, a movement of the body, whose very essence it is to be experienced through the senses.” Each of these three stories has a pronounced musicality to them, and it certainly feels at times that the reader is carried along through the background music alone (whether that comes in the form of syntax or theme or psychology). But this is not what makes a story. As E.M Forster declared in his Aspects of the Novel, a story qua story has but one single merit: that it “makes the audience want to know what happens next.” This merit exists only in an author’s capacity to create a “walking dance to be experienced,” a determination to follow with “the body,” an investment with “the senses.”

We have seen this play out in the three stories analyzed. Each takes a specific character’s desire and invents a situation where another character or group of characters resists this desire. It then takes this conflict and reproduces it at least three times in at least three distinct scenes, and each iteration is reformulated to provide a sense of syntactic excitement, irony and elaboration without ever abandoning the original desire-resistance pattern. This steadfast commitment to the original conflict creates the aesthetic space for the “movement of the body” because this plotting is, ultimately, a commitment to the senses on the part of the author and the reader, to exploring—to quote O’Connor again—“the definite to its extremity.”

Culturally Americans tend to treat literature as an unknown quality, unique with respect to other art forms and disciplines, both urgent and enduring precisely because it cannot be planned, described, and compartmentalized. But this isn’t quite true. The urgent and enduring qualities of literature extend directly from the fact that literature is, as Douglas Glover says, “a process of thinking with its own peculiar form.” Contrary to popular belief—a romanticized and lazy understanding of what art accomplishes and is—this peculiar and specific form provides literature its unknown quality. Writers create interest through, as Glover argues, “variation of form, surprising turns or denials of expectation, dramatic action and emotional resonance”; writers move readers through a walking dance, never for a sentence forgetting that there would be no dance without conflicting bodies and no interesting bodies without this formulaic dance.

—Michael Carson

Works Cited

Cheever, John. The Stories of John Cheever. New York: First Vintage International, 2000.

Forster, E.M. Aspects of the Novel. New York: Harcourt, Inc., 1927.

Glover, Doug. Attack of the Copula Spiders. Ontario: Biblioasis, 2012.

Glover, Douglas. The Enamoured Knight. Champaign, IL: Dalkey Archive Scholarly, 2004.

O’Connor, Flannery. The Complete Stories of Flannery O’Connor. New York: Farrar, Straus and Giroux, 1971.

O’Connor, Flannery. The Presence of Grace and Other Book Reviews. Compiled by Leo Zuber and edited with an introduction by Carter W. Martin. Athens: U of Georgia P, 1983.

Shklovsky, Viktor. Energy of Delusion. Champaign, IL: Dalkey Archive Scholarly, 2007.

Shklovsky, Viktor. Theory of Prose. Champaign, IL: Dalkey Archive Scholarly, 1990.

Trevor, William. The Collected Stories. Penguin: New York: Penguin House, 1992.
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Michael Carson lives on the Gulf Coast. His non-fiction has appeared at The Daily Beast and Salon, and his fiction in the short story anthology The Road Ahead: Stories of the Forever War. He is currently working towards an MFA in Fiction at the Vermont College of Fine Arts.

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Footnotes    (↵ returns to text)

  1. A note here on syntax: Cheever actually reproduces this exact plot pattern on the sentence level in much of his writing. He likes to use the three-beat pattern and then lightly disrupt it, extending the sentence into a six-beat pattern. Here is a particularly strong example from the ending of “Torch Song”: “Jack emptied the whiskey bottle into the sink./ He began to dress./ He stuffed his dirty clothes into a bag. He was trembling and crying with sickness and fear. He could see the blue sky from his window, and in his fear it seemed miraculous that the sky should be blue,/ that the white clouds should remind him of snow,/ that from the sidewalk he could hear the shrill voices of the children shrieking,/ “I’m the king of the mountain,/ I’m the king of the mountain,/ I’m the king of the mountain.”
Mar 132017
 

riiki-ducornet-resizedRikki Ducornet

 

1. THE VOID

Atte1mpt to imagine – and the task is futile – an absence, as when the night sky is empty of her moon, of moonshine, of stars, of starlight. Imagine a void in which you are without purchase (there is no place to stand); a night as unfathomable as a pool of ink (there is no pool, no ink) in which the vast firmament has dissolved. There is nothing but absence. (And you, the one who attempts this imagining, are nowhere to be seen.)

Imagine the beggar’s bowl once the beggar has slipped behind the trees to relieve himself – one of the many disadvantages of corporality. The empty bowl he did not submit to you is not there, having vanished into thin air, and there is nothing to fill in its absence. (You must also imagine that there is no air.) I say also recalling that when we (who are corporeal and irreversibly implicated in the material world) gaze upon all that has been seeded and aggregated, we are compelled to acquire things illicit and divine, of powers seemingly magical, to cry out; spellbound: “I’ll take that! And also: this!” Some say we are like ravens bewitched by things that catch the light. Imagine an emptiness that knows nothing of light. That all this that surrounds us is gone: the mole on your lover’s cheek, the shape of her wrists – and consider how once before time (I say once well aware of the absurdity) there was only the Void.

Now imagine he who is the Void, that eminence without name, sleeps. He is perfect, self contained, empty of dreams. And yet, unprompted, he starts, and reaching for a thing both essential and absent, murmurs: Light! (He does not eruct. Nor does he roar. The roaring comes later with Yavweh. Do not confuse him with Yavweh!) (Some will tell you he tore an egg in two and with the yolk made the universe, but no! You see: he was himself the egg!)

This light of his that surges forth the instant he speaks fills the void. Dazzled, he awakens. Or, rather, he is that Dazzlement. He is that Awakening.

That… Quickening.

As when a youth sees, not quite hidden by the leaves, a girl the color of wild honey standing in a pool of water, illumed by the lunar light. Threading the water through her black hair, she moves her limbs in the seductive manner of the willow, the water revealing and concealing forms that – if they are the vessel of light, are also the very things that lead us astray, far from the light we aspire to that initial impulse empty of confusion, limpid and marvelous. (Yet she is marvelous also; this I admit to you. She who causes Confusion! And one is left wondering: why has he who is the light, who is the Egg, engendered so many questions begging answers? The truth is, she is about to upend everything. Washing her hair!

We have acknowledged that the Void is empty beyond emptiness. A regency with nothing above, below, or to either side and so: incorruptible. At its core the Resplendent Germ burns devoid of femininity (yet harboring Her potentiality). He knows (he knows everything) that love without an object is unimaginable. She is there, immanent, standing in a pool of light that reaches her navel: Barbelo! He gazes into the generative mirror that he is and that surrounds him, and sees his reflexion burning there. In this way she is sparked – as when an ember leaps from the fire and blazes alone on the tiles before the hearth.

Enamoured from the First Instant (and this is exactly what it is!) he adores her. After all, is she not a perfect projection of himself? Only an image and yet she knows enough to praise him and ask at once for gifts. She has clout! She is the Womb of Everything. He gives her what she wants in a flash: Thought! Truth! Indestructibility! Foreknowledge! Eternal Life! Newly minted archons, they stand in gratitude, bowing and scraping: the Androgynous Pentad of the Aeons!

Everything stirs. When he gazes into her eyes, a pneumatic current penetrates two perfect irises. Quick as lightning she conceives the One who, if resplendent, will fail to save the world. The Christ! Who any second now will uncoil in Eden, his scales like prisms gleaming in the moonlight, and speak convincingly and sensibly of moral awakening to Eve and her Adam – and this to the eternal rage of Yavweh – that despicable interloper.

But before that can happen, a galaxy of superterrestrial luminaries are projected by the Pentad – they cannot help themselves. Their names are far to numerous to put down here; indeed they would demand a book, no, an entire Library (as would the names of the sublunar demons that, thanks to that malevolence: Yavweh, will any minute now appear in droves and elbow their way into every aspect of existence, disguised as beasts: aerial, aquatic and terrestrial, and hell-bent on corrupting, corroding, mortifying, and bringing everything down. But for now there is Subtlety. There is Perfection. There is Time, also. And space. Indeed the two embrace with such conviction they cannot be torn apart – as on an evening somewhere in the galaxy, lovers come together and time stands still and the flesh dissolves into heat and light. Above them the sky shimmers with powers, with alphabets of fire. These foretell everything to come.

From this bright turbulence Wisdom arises – a luminous egg of stardust quickened by a serpent of fire whose tail rends the night sky like a knife of ice. She is called The Virgin. Perfect Memory. The Lustful One. The Wanderer. Wisdom. Pistis Sophia.

 

2. PISTIS SOPHIA

Alone, suspended in a liminal space between perfect light and chaos, she considers how Barbelo was made, and longs for a loving image of her own to cherish. She acts without permission, and this is her error. Her impulse, born of loneliness and longing, is unlawful. To her shame and horror, she creates a monster with twelve faces – all roaring for attention. She names him Yaltaboath, but his names will be many: Abortion, Miscreation, Abomination, The Adversary of God, Saklos, Samael, Yavweh, Man Eater, Jehova. She takes him far from everything, sets him on a throne within impenetrable clouds and abandons him. Exhausted she sleeps. Her sleep is restless. The cosmos takes on weight. Opacity.

Yaltaboath’s rejection is bitter beyond bitterness. Where he sits brooding, the sky grows dim. “I am God!” He bellows into the silence. “There is no other!” And he calls forth an army of angels to do his bidding: The Reaper, Pestilence, the Keeper of the gates of Hell. Melancholy. Gangrene. There are 365 of them: one angel for every day of the year. They have the faces of wild animals, their forms scripted from the stars in the sky or, as was the bull, seeded by the moon. (It is said they have significance beyond themselves. The fish correspond to the deep waters of the soul, the birds to the soul’s longing for the light.)

But… what of Adam? Is Adam immanent? Do the stars foresee him? Or is he a projection of Yaltaboath’s pride? We know this: it takes Yaltaboath’s angels 365 days to make Adam.

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3. ADAM

Adam is formed of red clay. He is formed of mud, of ashes. (Some call him “volcanic.”) Each of Yaltaboath’s angels make one of his 365 parts: bone soul, sinew soul, blood soul, the right testicle and the left. The angel Yeronumous makes an ear, Bedouk a buttock and Miamai the nails of his feet. (Some say Adam falls to earth from deep space like a meteor – as did that other wild man: Enkidu.)

But angels cannot proceed without demons and so Yaltaboath now summons the passions that – you will appreciate this – take hold only where there is a body to contain them. Passion such as dread and grief, agony and wrath; the kind of thwarted loving that leads to death. (These take their source from carbon, sucking it up just as the infant sucks milk.)

Once Adam is formed, his body is perfect and yet without cohesion. He cannot stand but worms his way along the ground inch by inch. At night when he rests his head on a stone, his lungs ache with dust. He is confused. In the wind he trembles. His destiny is unknown to him; he is unknowing. His life is like the death the Mesopotamians describe in which the dead kneel naked in the dark eating clay.

At last, the archons of the Upper Spheres look down and see Adam confounded in his filth and suffering. They rush to Pistis Sophia and awaken her. She is scolded and she is advised. She calls for Yaltaboath at once. As he approaches, gyring in a vortex of fever and contagion, she shudders with horror. But Yaltaboath is flattered, disarmed by the unprecedented attention. His mother has summoned him at last! And he has so much to tell her! He is the master of an army of angels and demons! Master of an entire world! Its moon and neighboring planets!

“I have seen your creature,” Pistis Sophia tells him. “I have seen how he dwells in ignorance, unable to speak or stand. Yet he could be flawless. Breathe into his nostrils and he will rise. Even the archons, the angels will envy his beauty.

Yaltaboath descends to earth at once and does as she has told him. In the instant he breathes into Adam’s nostrils, Adam stands. But there is something more. The one spark of light that was Yaltaboath’s now belongs to Adam. This gift is immeasurable, for now Adam is fully capable of transcendence.

Yaltaboath sees that he has been tricked and ignites with anger. The same anger that will torment Job and test Isaac. The same anger that will bring down the tower of Babel and cause men to speak to one another without comprehension.

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4. EVE AND THE SERPENT

Awakened to the world, Adam explores paradise. Everything speaks, everything sings. He discerns spells on the backs of turtles, and drinks at pools of fresh water with the lions and gazelles. There are sweet grains to eat, figs, pomegranates, and bitter herbs. What is the world if it is not magic? But if all the creatures have a mate, Adam sleeps alone.

Once again the angels take up the red clay. Formed in the heat of their hands, Eve is the color of cinnamon, of ebony. Her eyes are gold, silver and pearl, and her hair falls to her shoulders like clusters of grapes. When Adam sees Eve for the first time, a veil lifts from his mind. Eve. The moon incarnate. Her perfect flesh unscarred. Reaching out he touches her for the first time. Seven days and seven nights they cling together. In the moonlight the bees move among the stars. My beloved, Adam whispers. My one and only murmurs Eve. (And it is true.)

Christ, who always hovers near, sees this unfold, and smiles. He appreciates that they are resplendent in one another’s eyes, just as Barbelo and his father were once resplendent. He is covered in iridescent scales, and as they embrace he coils around the tree, the One Tree, like a vine, singing. When at last the lovers lie quietly side by side, he approaches Eve. His voice is irresistible. (Of all the creatures in Eden, Christ is by far the most beguiling.)

That night the three of them eat apples, watching lightning strike the horizon, the comets tearing space like birds with knives in their beaks. In the sound of thunder they hear Yavweh’s insane bellowing. (He has never ceased his bellowing and his angels have never ceased their yammering!) When day breaks they run for their lives.

Later, as Adam and Eve continue on alone, they ask questions of one another such as:

Why are we punished in our bodies which are the vessels of light?

Why are we banished from Eden, longing as we do, for the light

—Rikki Ducornet

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The author of nine novels, three collections of short fiction, two books of essays and five books of poetry, Rikki Ducornet has received both a Lannan Literary Fellowship and the Lannan Literary Award For Fiction. She has received the Bard College Arts and Letters award and, in 2008, an Academy Award in Literature. Her work is widely published abroad. Recent exhibitions of her paintings include the solo show Desirous at the Pierre Menard Gallery in Cambridge, Massachusetts, in 2007, and the group shows: O Reverso Do Olhar in Coimbra, Portugal, in 2008, and El Umbral Secreto at the Museo de la Solidaridad Salvador Allende in Santiago, Chile, in 2009. She has illustrated books by Jorge Luis Borges, Robert Coover, Forest Gander, Kate Bernheimer, Joanna Howard and Anne Waldman among others. Her collected papers, including prints and drawings, are in the permanent collection of the Ohio State University Rare Books and Manuscripts Library. Her work is in the permanent collections of the Museo de la Solidaridad Salvador Allende, Santiago Chile, the McMaster University Museum, Ontario, Canada, and the Biblioteque Nationale, Paris.

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Mar 042017
 

Yannis-Livadas 480px

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An adventure that you can neither embark on nor finish. You are, therefore, under duress, even within the illusion of a borderline, evergreen clearing. All you need do is work. Wanting to and, at the same time, not. By a causality that’s not a matter of will. It is a matter of principle. That principle instantaneously gives rise to a will by means of which you are liberated from the principle. You go up in the world, you gain faith, but you mainly take pleasure in losing more than you could possibly have lost.

To stand before chaos “out of which everything emerges,” you need to live in the present, not simply to relate to the present as one aspect of a descriptive system. Poetry is not framed by a narrative but by the poetic capacity and, therefore, by the poetic nature. It does not make sense through the absorbing of the shock of some kind of rhetoric or schematic ploy (which is the exact opposite of the shock created by the content, irrespectively of form) nor with the citing of chosen stylistic consequences. Even, that is, if you stand before chaos, you are at a disadvantage in relation to the one who eventuates, who continually emerges out of chaos. The present which assimilates the future.

Parthenogenesis does not exist, although “parthenophany,” the pretension of virginity, does. You go to sleep being the one and you wake up being the other. Nor will there be an outcome if you do not conceive why you went to sleep as well as why you opened your eyes again. You may close them once more.

Yet, what the thing is that one needs to depend on what you do or (predicated by a short-lived “unfortunately”) what you count on doing. By what penetration does the need ensue for this discussion? Is there more significant priority than the ability of mental penetrating, that is, revelation? Why be concerned with parthenogenesis when there is nothing virginal around? Since we presume nothing virginal has existed apart from what was created in order to concede the virginity of its reality.

So, then, how can the poetic revelations matter, since even a minute before you experienced them, you were a mere novice? And a novice every time, for the umpteenth time. Does this phenomenon make the poetic awe lesser or greater? This is also a state of virginity. A figure of poetic speech, or a statement in a poetic way, the sense of which is indebted, which may only exist as a trope, waiting in line to be shocked at yet a deeper level, in order to become dimensional and substantial. Even the foolishness of advanced experience could support more importance, where all these facts may sound amusing, where nothing is heard while one could be longing for a break of poetic silence. The so-called absent preexists. Poetry forges the senses into consciousness though not as metals. As molecules of air. Winged words of empty promises issuing out of ignorance.

Essence or beauty, depending on how you name the supremacy of the sacred, has been portrayed in words through the endless wandering in the alleys or the highways of basic notions, and the consecutive reading of such notions. These alleys and highways gradually become chains of the poetic naturalness. The real poetic erections are stretching these chains. If the chains do not resound, it means that the poet neglects or breaches his naturalness. When such a thing happens, all the traits of the basic notions, of the poetic state (that is, the void), dismiss its meaning, dismiss the inner bond with what is humane in poetry.

Then comes a pandemic of idle info-lovers, who invent pre-approved confrontations in order to use them as literary “ideologies.” Beguiling insinuations of a foundation under fate’s feet; that is why noble rivalry is so rare nowadays.

The more poetry resigns to itself, especially for no specific reason, the more it is empowered. The more it is recreated thanks to the providence of poets, the more the poets belong to the Arcanum. The poet illegitimately enacts his deadly nature so as to become a newborn crucial dead; i.e. deriving from within his poetic essence, not concerning his essence.

What is born is condemned to death and to being absorbed by the newly born. The newly born is more specifically regulated by death. The newly born is the exchange value of death. Life, is the daemon – poetry, is the teaching of the absolute nullity. The irreversible perforation of what has been poetically affirmed by those who are still spendable.

I observe an immense difficulty in the intellectual movements of most of the people who write poetry, a difficulty within flow. That difficulty is very important. Yet it can’t be dealt with by writing poetry. Poems may be created once people have become attuned with flow. In a similar manner, man can return to a developmental trajectory, to a tradition which, despite the rough patches, won’t be the heralded dystopia but some other, less preordained future necessity.

The fate of poetry rests with the fact that it doesn’t need to seek assessments of its testimony. Only human degradation requires something of that sort, since it itself constitutes the dominant factor, which claims to be transcendence: the labor of Sisyphus, but without the rock and the landscape. Where speech is not born out of transcendence, a macabre dismemberment intervenes. Everything crawls, everything is fragmented and scuttles away to form layers in the outer extremities

Most contemporary poets say, or imply that, they have conquered the ways of poetry, so everything can function as a prototype, everything can fend off the stereotype. Luckily though, the time of the signifying insinuation has been and gone, when it was occasionally expressed through the artful deterrence of paying extreme attention to it; as long as one is nowadays knowledgeable about the dichotomy between the mirror and the mirrored, so as to create poems rather than massify. Might as well, then, consider the plot of this story finished, along with all the rest of these disturbing facts; unless some imbecilic craving for legitimacy turns us into “chatterboxes of the universe.”

One of the typical forms of foulness of those pretending to be poets is the persistence of dishonest empiricism. Instead of decollectivizing and transforming concepts, they merely revise them. Essentialists, dedicated to the martyrdom of their monophonic identification with poetic practice, are not poets, even though their texts be considered “poems.” The subjugation of difference lends cohesion to their views, that is, the tendency to assimilate everything, the sacred offspring of fanaticism imposed via misrecognitions. In most of their writing, those far from naive petty tyrants care mainly about one thing: the condition of their self-definition in a construction of words.

They have given up life and are doing art, which is why they have neither. The texts are written to play the part of a bribed juror. The outcry of people who deserve an outcry. Criticism by people who need criticism. An attempt to enlarge the mouth that silently gapes so that it appears to swallow everything up, so that the subjugation can appear benevolent; so the spirit can be fettered at goodwill.

Yet, being right, just like being wrong, is a macabre means of consent in that those who bow to their spiritual tyrant (whether that is oneself or another) have also worked hard to establish him in power. Because although the process of denudement can often be understood, the denudement itself cannot.

Poetry is middleness, as much chaos as it mediates order. It only offers what is lacking and it is defined by the abolition of the dilemmas of creativity. The definition of poetry is fluid and risky, resembling its nature. The way of its attainment is equally fluid and risky because although poetry is a permanent thing, it avails itself of contingencies, through which it is sought and out of which, simultaneously, it proceeds.

Poetry is not a theory about things, or a danger-free method for approaching things. It is a non-theory: a practice, a structure and, alongside these, some, at least, of their records. The constitution of a poetic subject is possible only as an intervention. Imagination rather than philosophy. Wisdom rather than morality.

A text without qualms is the clear imprint of a person. A text full of qualms, that is to say a text that casts shadows on its own naturalness and serves up the imprint of someone else, though it may find easy acknowledgement and recognition, is nobody’s imprint. This evasion of an imprint gets a response through the readers’ already formed habit of being supportive towards imitation, copying, towards what is a permissible, i.e., widely acceptable. This is particularly the case when the “poems” are by the hand of a “specialist.” The text will be received as major because it will be satisfactorily occupied by the readers’ generic truths and, also, will full-heartedly contribute to the ongoing barrage of likeminded individuals.

If an imprint exists, it will wake up in the reader the consciousness of existence, which, as long as I find out, is neither pleasant nor desirable. It will automatically strand the reader without supporters or allies in the quagmires of information and sociability. And if a desire for an imprint manifests itself, it happens to the extent that the reader is allowed to control the text through his own way of thinking, so that, in case of emergency, i.e. when he comes face to face with poetry, there is always an escape hatch available.

But how can an antimetathesis[1] in the void work with anything that pales before the void? Even a remarkable style will come undone if it does not remain exposed to the forces that fuel it. Just like, for instance, an implication or an allusion can very well come to reliably augur boundless sentimentality if it fails to discern that honesty is the summit of transformation. Honesty forces you to address others only if you have already addressed the most dangerous otherness, yourself.

Almost everyone thinks that poetry is a buoying encounter of subjectivities, a transcultural narrative of existing encounters, yet that is not the case. If it were, the art of poetry couldn’t be the carefree endeavor which continually advances the unattainable; in contrast to strictly academic writing, slam poetry, hip hop ranting, poetry committed to ideologies, adherent movements, etc.

All kinds of accentuations reveal the extent of the familiarization which besets human nous: the familiarization with the thing represented, which stands for familiarity, of both the accentuation and the aforementioned division of the roles that are necessary for discharge; the intermezzo, the predetermined recycling of the entire phenomenon.

At a time when original, individual poetry, affects a non-ideological anarchism; it reveals the conjunction of aesthetics and ethos (which are the same thing) in the void. It enjoins without confusing and it distinguishes without dividing. A live address to what has escaped the notice.

—Yannis Livadas

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Yannis Livadas  is a Greek poet, born in 1969. His work constitutes the idea of experimentalism based on “organic antimetathesis” — the scaling indeterminacy of meaning, of syntactic comparisons and structural contradistinction. He is also an editor, essayist, translator of more than fifty books of American poetry and prose, and an independent scholar with specialization in American modern and postmodernism literature, plus haiku. He contributes to various literary magazines, both in Greece and other countries. His poems and essays have been translated into eight languages. He lives in Paris, France.

This essay is an excerpt from his book Anaptygma: Essays and Notes on Poetry (Koukoutsi Books, 2015).

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Footnotes    (↵ returns to text)

  1. Ιnversion of the organic antithesis.
Mar 012017
 

Amanda Bell

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When my grandparents retired they built a house in Mayo. It was tucked into the purple-veined crook of Lurgan’s elbow, gazing down over Lough Conn, with Nephin Beg rising up to the left – its mist-swathed summit a reasonably accurate gauge of the weather sweeping down towards the lake. If the top third of the mountain was hidden in cloud or mist it was a sure sign of good weather. ‘Good’ weather was showery and overcast, with a stiff but not too strong breeze – perfect fishing weather. Bad weather, on the other hand, was hot, still and sunny, peachy-scented with blossom, the air full of the sound of grasshoppers scraping and the sporadic popping of dry sun-ripened gorse pods spitting their black seeds outwards in ever-increasing circles. On bad weather days even the dogs were too hot to go rabbit hunting, instead throwing themselves down in exhausted hairy heaps in the shade of the porch with their pink tongues melting in coils beside them.

1. Nephin MountainNephin mountain 

‘Try and make those stupid dogs drink’, my grandmother would say. ‘They’ll get dehydrated’, and I would sprinkle drops of water onto their tongues for a while, watching their sides heave and their tails wag languorously. Because bad weather days were good for nothing else they were usually designated work days – days for brambling in the herb bed where my grandmother grew parsley and dill, cutting wood to thin the surrounding hedgerows, stripping and painting boats, or raking the gravel around the house. Such days usually ended in a barbecue. When evening fell we would congregate at the back of the house, sit on seats made out of old wine casks, and boast about our aching muscles, smearing ourselves with midge-repellent, and my grandfather, in his blue and white striped apron, would cook the dinner. Usually he barbequed steak, which he served with mushroom sauce – ‘grandpa’s special’. The recipe was a secret and only I, his pet lamb, was allowed to accompany him to the kitchen and watch while he sliced little piles of mushrooms, turned them in buttery meat juices in a pan, scraped the bottom with some brandy, and added a stream of cream and some white wine; other times he cooked fish, pink trout wrapped in tin foil. Mine would always be opened for me, the firm flesh peeled away from the bones and the steaming slippery skins thrown out onto the grass for the dogs.

Amanda Bell and daughter near summit of Mount Nephin_1Amanda Bell and daughter near the summit of Mount Nephin

One bad weather day, tired of brambling and of splashing water onto the dogs, I decided to help my grandfather, who was building a boat-house. This boat-house was to be built half-way up the lane, and would have a lean-to shed at the side for stacked logs and turf. I had watched my grandfather drawing the plans for it himself. Now he was working on the foundations, and would have to go down to the boat bay. The boat bay was where we kept our two boats – the blue one and the orange one. The women preferred the orange one because they could see it easily through the window with binoculars, and know when to put the dinner on. The men preferred the blue one because the fish couldn’t see it from the bottom of the lake, and so they caught more.

The boat bay was fringed with hazel scrub and thorn trees, and purple loosestrife and blue scabious grew in the coarse yellow sand. It was a very good place to catch grasshoppers and daddy-long-legs for dapping, and because I was small and moved quietly I was the champion hopper-catcher.

‘Mummy’, I called, running to where she lay reading in a deck chair, ‘I’m going down to the boat bay with grandpa, can I wear my yellow dress?’ The dress had been a present from my brother when he came home from the hospital, a thank you for letting him be born and an apology for distracting my parents’ full attention from me. It had a flared skirt and the bodice was ruched with elastic cross-stitches and dotted with tiny rosebuds of pink and green cotton. For a second the thought of washing the dress yet again flickered in her eyes, but Dr Spock’s advice about not alienating your first-born won out and she came into the house with me, leaving her book spread-eagled on the dusty canvas of the striped deck chair. I wriggled as she pulled the dress over my head, blinked while she caught my hair back in a slide to keep it out of my eyes. Then I tore up the drive, gravel shooting up from beneath my feet, shouting ‘I’m ready now, let’s go.’

Author 1971-72 doorway 480pxAuthor 1971 or 1972 

My grandfather opened the car door and I climbed in gingerly, careful not to let the sun-heated leather car seats burn my thighs or crease my skirt. I loved sitting in the front of the car – they never let me do it at home, only on holidays, because everyone drove slowly and there were no other cars around, only old tractors, rusty red with no safety frames. When we arrived at the boat bay I did a tour to see if I could find any dragonflies, then came back to supervise my grandfather as he threw shovelfuls of sand into the trailer, stopping occasionally to light a Players from the butt of its predecessor. My grandfather even smoked in his sleep. His pillowcases were patterned with brown-rimmed holes from the occasions when he’d failed to wake up in time to take the narrow pillars of ash from his lips and extinguish them in the scorch-marked scallop-shell on his bedside table. My grandmother had long since moved into a separate bedroom for fear of being set on fire. This year, I was allowed to share my grandfather’s bedroom because the baby was in with my parents. I loved it. We stayed awake late to listen to the long-range weather forecast and I watched him blow slow, looping smoke-rings towards the ceiling without taking his eyes off his book. He was a better smoker than my uncles, and his hands were yellower. I preferred cigarettes to cigars, or the cheroots my father smoked.

The author Pontoon 1972The author at Pontoon, 1972

They made his breath sour when he kissed you good night, and in the car it made you sick – worse than reading. My grandfather always asked about what you were reading. Our beds stretched out side by side with the bedside locker and his scallop-shell in between. I went to bed before him, because the grown-ups stayed up after dinner to play bridge, but I always stayed awake waiting for him. To undress he sat on the side of the bed furthest from me, his back turned, and slipped off his trousers and long white drawers while still seated, then pulled on his baggy pyjamas and buttoned them up before turning around and getting under the covers. The blankets smelt musty sometimes, if it had been cold and the radiators weren’t on, but in summer they were fine. I lay in my bed just like he did, with my book leaning on my thighs, and concentrated very hard on watching him smoke. I loved to watch the ash slowly lengthening and bending in his lips, waiting until it was just about to fall. ‘Grandad’ I’d whisper, thinking he was asleep. Then his eyes would snap open, watery blue without his glasses, and he’d take the butt between finger and thumb and lower it to the shell. An inch of ash usually fell on the carpet. ‘Just having a little think,’ he’d murmur, ‘not asleep yet. Good night pet lamb.’ Then he’d turn off the bedside light and we’d go to sleep.

Author's grandfather and brother collecting turfAuthor’s grandfather and brother collecting turf

When the trailer was fully loaded and the sand slid in tiny streams over its edges we got back into the car and drove back onto the road and up the lane towards the house. ‘Let me out here – I’ll race you.’ The hot leather scorched my legs as I slipped down and out the door. The lane was planted with tiny gorse bushes to either side, which my grandmother had transplanted from big thickets in the field – they were small enough to jump over. The blossoms smelt like peaches but they were too thickly surrounded by prickles to pick, unless you had gardening gloves and secateurs anyway. My mother said that we were lucky to have orchids in the field, but we mustn’t pick them because it took four years for them to flower again. I skipped along beside the car, hopping in and out of the field, singing to myself ‘red and yellow and pink and green…’ I leapt high into the air with each word to see my skirt balloon out around me as I descended, jumping higher each time to see how full I could make it spread. I could see my father’s bare back over the hedge where was sawing planks for the boat-house. It was shiny with sweat. In the car my grandfather had begun to gain on me now – even the trailer was ahead. I stopped my leaping and ran as fast as I could, till I was even with the end of the car, overtook it, strained to run faster still, then my shoe hit a stone and I fell headlong over the tow bar. The lane was bouncing up towards my face – baked clay to either side, clover in the middle, sheets of dried and flattened cow dung matting blades of grass together.

The author and her brother_1The author and her brother

I hung on tightly – my ribs crushed against the bar. I heard my father roar, then the car stopped and everyone came running, their sun-pink flesh bouncing, their mouths big black Os. I felt my grandfather catch me under the armpits and lift me off the bar but without looking at him I broke away and ran, over the gorse bushes, around the cattle-grid, and into the house. The tangle of dogs in the porch scattered, yelping in surprise, as I ran through them, down the corridor, not into our bedroom but into my parents’ room. I slammed the door behind me and crawled in under the cot with my eyes closed and my heart racing until I heard voices in the corridor. They murmured for a while, then the door opened and my father came into the room, eased me out from under the cot, lifted me up, and held me gently against his shiny shoulder. The hairs on his chest were matted with sweat and the cheroot smoke smell was hardly noticeable. He sat down on the bed and rocked me for a while, then took off my hair slide, which hung loosely near the end of a strand of hair, smoothed my hair behind my ear and replaced the slide. Then he asked me to come with him and apologise to my grandfather for frightening him. But I was the one who was frightened, so frightened that I didn’t want to see anyone, just stay in the bedroom until bedtime and then it would be tomorrow and it would be a good weather day and the men would go fishing and I’d stay in and watch the rain patterns on the window and do jigsaws with my mother, or we’d put on wellies and go out looking for flowers to pick, or maybe collect some eggs from the neighbour in my little blue bucket, and everything would be the way it always was.

4. Mayo roadMayo Road

But no, I had to go to the living room, because my grandfather was very, very upset, and I had to say sorry, so he’d know that I was alright.

We went to the living room hand-in-hand. My grandfather was in his chair by the fire – it was a tall-backed easy chair with a badly strung seat, and a little tray with spring-fasteners attached to the arm for balancing glasses and ashtrays. The fire wasn’t lit because it was bad weather. My mother smiled at me from across the room – she was pouring him a gin and tonic. My father pushed me gently forward and I climbed onto my grandfather’s knee, mumbling a barely audible apology with my chin down on my chest. I could see the rusty mark the tow-bar had left across the middle of my yellow dress. ‘There there pet lamb, that’s alright now,’ he said. But his blue eyes were looking out the window towards the lake, and that night in bed he kept them open while he thought, and he listened to the radio way after I’d fallen asleep, tipping his ash on the scallop shell.

—Amanda Bell

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Amanda Bell’s collection Undercurrents, a psychogeography of Irish rivers in haiku and haibun, was published by Alba Publishing in 2016. Her illustrated children’s book, The Lost Library Book, will be published this spring by The Onslaught Press, and a debut poetry collection, First the Feathers, is forthcoming from Doire Press. She is the editor of The Lion Tamer Dreams of Office Work: An Anthology of Poetry by the Hibernian Writers (Alba Publishing, 2015) and Maurice Craig: Photographs (Lilliput, 2011). Amanda is currently completing a middle-grade econovel. She works as a freelance editor and indexer. www.clearasabellwritingservices.ie/publications/

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Feb 022017
 

Version 6

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ABSTRACT

As a three-year-old, my son was a philosopher king. One day, in all sincerity, he asked, Why can’t the good people just kill all the bad?

I have a personal relationship with Jesus, who was able to procure a list that his father’s meticulous angels had drawn up. My credit cards are linked to air miles, which I have never spent. With the list, free global travel, and my (legal) assault rifle, I was able to dispatch the undesirable. The babies initially posed a quandary: on the list, destined for a life of casual cruelty and selfishness, but what would happen once I offed their inevitably corrupting parents? What if the babies were raised by kind people? It’s always nature versus nurture.

If I thought any of this would work, yes. There is nothing I wouldn’t try to make this world safe for my son. What to do?

You can’t promise the child a just, or kind, or beautiful world. But you can teach him where to find it, in snatched glances and in-between spaces. You can teach him how to look.

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LITERATURE REVIEW

The pig running with a knife stuck in its back is already roasted. The bent-over nun is bare-bottomed. Baked fish fly from stream to plate, the shacks are made of sugar, the pastry roads flake under your feet. You are never cold and can sleep all day. A paradise, a parody, a broke-back peasant’s dream. You come to Cockaigne by way of Breughel, or medieval poems. Cockaigne, variant Cockney. Coken, of cocks, and ey, egg. Meaning, the cock’s egg, an impossible thing.

The men of Plato’s Republic shared wives, children, and resources. The original Utopians – Thomas More’s – shat in gold chamber pots. Their slaves were shackled with gold, and their prisoners were crowned with riches. Wealth was dirty, something to be eschewed. These were theoretical – or satirical – attempts to deal with enduring human problems: sex, money, work, power. The jealous guarding, coveting and/or avoidance thereof.

Superimpose the dream of a just society onto the vision of a lost city of gold and you will, like Candide, see Voltaire’s El Dorado. Built of gold and silver, the city is stately and well-proportioned. Children play with unhewn chunks of ruby, emerald, and sapphire; a sense of ease derives from this great wealth. Peace and great contentment, beauty and science. There are no prisoners or priests.

Utopia literally means no place. An impossible thing.

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Seaside

The town of Seaside is privately owned, which means that the developers were able to make it almost exactly how they wanted. Architects of the ideal. The village is designed to be walkable, with useful and attractive public spaces. Located on the coast as the name suggests, or rather, prudently set back several hundred feet, it is the town where The Truman Show was shot. The pastel houses come in various flavors: Victorian, Neoclassical, Modern, Postmodern, and Deconstructivist, all with friendly front porches. The town has a motto: A simple, beautiful life.

My mother and father took me and my sisters and their families to Seaside one year for a holiday get-together. Although I was still single, my sisters had small children, and the Florida coast seemed like safe bet for an easy and pleasant beach vacation. It was all that: easy, safe, pleasant.

The Seaside Institute, founded and run by the town’s developers, has an “academic center” in the middle of town. The Institute’s mission is to “help people create great communities.” Apparently, it was founded on the premise that great communities can be created, ex nihilo, by a group of hard-working, well-intentioned, great people.

I remember walking the streets in search of a meal. The streets, the sidewalks, the manicured yards, and the friendly front porches were always empty.

seaside_florida_architecture Architectural styles in Seaside, Florida (via Wikimedia Commons)

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Ecotopia

In Ecotopia, trees are worshipped, love is free, technology is embraced, and a woman is president. The borders are secured; a hefty arsenal keeps the little country safe. The late Ernest Callenbach, earnest prophet, early recycler, organic gardner, film buff, and author of the eponymous novel from the 1970s, imagined what might happen if the feminists, Black nationalists, and environmentalists of that time created a great community and seceded from the union. The book’s form is that of a visiting journalist’s diary; it is widely taught in colleges now.

In Ecotopia, Black people have retreated to Soul City – formerly Oakland, CA – their own country within a county.

The culture of Soul City is of course different from that of Ecotopia generally. It is a heavy exporter of music and musicians…

The people living in Soul City are flashier, drinking high quality Scotch whisky, trading in luxury good, driving private cars.

And, the (white) Ecotopians love Indians:

Many Ecotopians are sentimental about Indians, and there’s some sense in which they envy the Indians their lost natural place in the American wilderness. Indeed this probably a major Ecotopian myth; keep hearing references to what Indians would or wouldn’t do in a given situation. Some Ecotopian articles – clothing and baskets and personal ornamentation – perhaps directly Indian in inspriation.

This, despite the presence of any real Native Americans.

Non-lethal war games help men discharge their natural aggression. Kind of:

Goddam woman is impossible! Got really turned on at the war games…and made no resistance when one of the winning warriors came up, propositioned her, and literally carried her away (she weighs about 130)…Later…she was relaxed and floppy, and I tossed her around on the bed a little roughly, wouldn’t let her up, more or less raped her. She seemed almost to have expected this.

Can’t blame Callenbach for trying, but a single author will always be limited in his vision for other people. Stereotypes, segregation, erasure, rape. All with the best of intentions. And with some good ideas mixed in.

eftelingthemeparktalkingtreeEfteling Theme Park Talking Tree

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Cascadia

If Ecotopia took a deep breath, expanded its borders to include parts of British Columbia, Idaho, Montana, Wyoming, it would be Cascadia, the bioregion where I live and for which there are occasional secessionist agitations. There is a flag for Cascadia and I’ve seen bumper stickers around town, though have yet to see a referendum on the ballot. Not surprisingly, the cultures and the boundaries of the two hypothetical countries more or less align with one another and with the real Pacific Northwest.

In the late 1800s and early 1900s, before Ecotopia or Cascadia were dreamed up and named, this area was home to a number of communes and experiments in ideal (white) society. The West was a place for imagination and ambition; smallpox and colonialism had made vast swaths of it almost unpeopled. Men with grand socialist ambitions believed that the Pacific Northwest – Washington State in particular – could be a petri dish in which socialist colonies would take hold, and then infect the whole country.

Harmony, Freeland, and Home were all well-established colonies in northwest Washington. Equality thrived until an arsonist burnt it down.

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Omelas

I was a child who regarded the adult world as inherently corrupt or, at best, misguided. I felt affirmed in this when I read about Ursula Le Guin’s Omelas, the perfect world made possible by the existence of a single spot of suffering. A child locked in a cramped, filthy basement, a child who is kicked and beaten, fed just enough to keep alive, a child who is alone and unloved. A child who is taken from the good life once s/he is old enough to remember the good life; this point of reference allows the child to understand the depth and injustice of his or her suffering.

The prosperity, health, kindness, and gentle wisdom of Omelas, are all because of the child’s misery. Most citizens of this Utopia accept that this is simply the way their perfect world works, but some are appalled, and blow that popsicle stand. Walk away, and never come back.

A side-note: Omelas, or at least its namesake, would be located in Ecotopia. Omelas is Salem, the capital of Oregon, spelled backwards. With an O slapped on for euphony.

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America

We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defense, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America. – Preamble to the United States Constitution

And. What we lock in the basement.

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Z.1

We don’t have to wait for some grand utopian future. The future is an infinite succession of presents, and to live now as we think human beings should live, in defiance of all that is bad around us, is itself a marvelous victory. – Howard Zinn

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Z.2

The Mato Grosso region of Brazil is covered in trees. It’s a jungle. According to legend and rumor, there was a grand city tucked away in the Amazonian rainforest. Many men of European descent searched there for what they believed might be the true El Dorado. Percy Fawcett, a British explorer of the early 20th century, was obsessed with the place. He took clues from Indigenous stories and Manuscript 512, a document he came across in Rio de Janeiro library archives in 1920. The account, presumably by the Portuguese bandareinte (settler and fortune hunter) João da Silva Guimarães, is titled Historical Relation of a hidden and great city of ancient date, without inhabitants, that was discovered in the year 1753. It tells of gold in the streams and buried treasure, as well as of a grand, abandoned city.

Fawcett wanted not gold, but to name, claim, and chart the world. A knowledge conquest. He called this city Z, and referred to it only cryptically in his notes and letters. Fawcett made it his life’s work to find Z. In 1925, on his eighth expedition, Fawcett, his son, and his son’s best friend vanished into the jungle. They were last seen crossing the Upper Xingu River.

There were rumours that Fawcett had been eaten by cannibals, rumours that he’d gone native and become a tribal king. Z was dismissed as yet another El Dorado delusion, the entire Amazon was seen as a counterfeit paradise, incapable of sustaining urban life, and Fawcett was dismissed as a crank and a dilettante.

Crazy, but Fawcett was right. Z was there all along. Within reach, or almost.

Kuhikugu is a vast archeological complex at the headwaters of the Xingu River in Brazil. Where Fawcett thought the City of Z would be. The Kuikuro are likely descendants of the estimated 50,000 people who lived in Kuhikugu about 1,000 years ago. When archeologists started listening to the Kuikuro and then looking at satellite imagery enhanced by LiDAR, they started seeing Kuhikugo. The towns of Kuhikugu are mathematically laid out on cardinal points, connected by roads, bridges, and canals, protected by palisades and concentric moats. The presence of terra preta, a type of soil that is formed by long-term cultivation, and of earthen berms likely indicate agriculture and fish-farming.

kuhikuguKuhikugu archeological complex

Increasingly, there is thought that the Americas were populous, urbanized, and widely farmed prior to European contact. The myth of El Dorado didn’t spring from nothing: conquistadors, bandeirantes, European explorers, Jesuits did see gold, riches, and great cities. But like the physics principle that tells us observation changes what we see, the European reporters infected the subjects of their reportage with disease. The natives died. In the Amazon, the jungle swallowed the cities whole.

What failed in the quest for Z, for El Dorado, was imagination, or sight.

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Z.3

Every alphabet comes to an end. From sea to shining Z. There is speculation that American democracy – our attempt at a just society – is at an end. Our new President won by promising safety and freedom for some people at the expense of safety and freedom for other people. By promising the return of a lost Utopia. Make America Great Again.

If Americans had been able to see this country has never been just and great for all who live here, and, too, if Americans had been able to see the very real – if imperfect – greatness of a country founded on ideals of equality and justice, maybe they wouldn’t have felt a need to make it great again. Maybe they would’ve voted more modestly, for making America incrementally better.

mapofutopia1Map of a Utopia

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METHODOLOGY

I look for meaning in a small room. My analyst is a tiny, birdlike woman. She speaks softly, and can say shocking things. She sits in her chair. I sit on the couch. It is too soft. I would never dream of lying down. There’s a view of a parking lot and also a microbrewery.

The purpose of my visits with her are wholeness, integrity. She is a Jungian, so she comes at all this from the perspective that you have to dredge the unconscious, sift through your dark, ugly, unseen, painful matter. You must unfold, unpack, remember, shake out everything that’s been pressed: depressed, repressed, oppressed. Everything you’ve locked up, you must release. Everything in the basement gets hauled upstairs, into the sunlight.

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PRESENT STUDY

A few years ago, my husband, our young son, my mother and I went to a villa in Baja that both friends and the internet promised was heaven on earth. It had been a hard winter.

What we now call Baja California was thought by Spanish conquistadors to be an island, quite possibly the island paradise described in a novel popular at the time.

At the right hand of the Indies there is an island called California, very close to that part of the Terrestrial Paradise, which was inhabited by black women without a single man among them, and they lived in the manner of Amazons. They were robust of body with strong passionate hearts and great virtue.  – Garci Rodríguez de Montalvo, The Adventures of Esplandián

islandofcaliforniaIsland of California

We took a rough dirt road – an arroyo, really – from the airport on the Pacific coast to our destination on the Gulf. It was night. My mother was buckled in, she’s religious about seat belts and safety, if not about God or anything else. She was also clinging to the handle above the car’s door and offering helpful driving tips, like slow down. My husband was driving, maybe a little fast. My son was bouncing in the back seat next to me, thrilled for any kind of adventure. There were no villages, no houses, no streetlights along the way. Our world was limited to the wan beams of our headlights. When we finally came to the other side, we unknowingly shot by the villa, and had to backtrack to find it.

Morning, and we woke to beauty.

We wandered up to a palapa for breakfast – buckwheat pancakes and great slabs of papaya – and then one of the owners gave us a tour. He was a soft-spoken gringo of late middle age, polite, not effusive. The villa was comprised of a main house, where the owners lived, and a number of casitas. The workmanship of the place was meticulous; the balconies and curved balustrades, the tilework, the fountains. The owners themselves had built the place. Please stay away from the main house, on the paths that wind through the yucca, the palms, the plumeria, and hibiscus. I saw a wild fox perched atop a saguaro.

As my mother, my husband, our guide, and I stood on a terrace gazing out to the sea – I remember I was running my hand up along a smooth, coral-colored Tuscan column – we heard a splash behind us.

My then five-year-old son was at the bottom of the pool. He didn’t know how to swim. Fully clothed, I jumped in to save him. I was wearing a long skirt which covered my face as I entered the water. I reached out blindly. My boy wasn’t there.

When I tugged the skirt off from face and could see, our guide was hoisting him out of the pool. He’d calmly knelt down at the edge, reached into the pool and grabbed my son as he’d surfaced for air. He didn’t even get his sleeves wet.

The pool had mermaids mosaicked on the bottom.

Before we wandered down the hill to the beach, I buckled my son into the life vest I’d packed. Beaches back home in the Salish Sea are gray-green and rocky, covered in kelp, barnacles, and eel grass. This one was absolutely blank, just hot sand and blue water.

We encountered another young boy at the shore. Named after an archangel, he was a grandchild of the villa’s owners. Oh, so-and-so? I asked, naming our guide. No, all of them, he said. I learned that a wealthy, graying, seemingly happy commune owned the villa. My boy and the other played in the ocean waves for hours, laughing. The sand glimmered as if with gold as it was kicked up by the clear water.

inbajaIn Baja

We accept the reality of the world with which we’re presented. – The television director who controls Truman’s world in The Truman Show

The Lyman Family, also known as the Fort Hill Community, was the creation of Mel Lyman, a banjo and blues harmonica player. Photos, including one shot by Diane Arbus, show a man of thin body, hollowed cheekbones, a hot gaze.

In the 1960s, the group attracted some wealth and intelligence, and members included architects, artists, and the daughter of a famous painter. Although they dabbled in LSD and astrology, they hated hippies. Men wore their hair short, and women did as they were told. Wives were not shared concurrently, but serially. Mel fathered at least 5 children by 4 women. As with children in Plato’s Republic, the Lyman kids were removed from their parents and raised collectively. The Family also dabbled in guns, racism, and bank robbery. One member was shot to death at the scene of their single attempted heist and another, actor Mark Frechette, was arrested. Frechette later died in a weightlifting accident in prison.

The Lyman Family recovered from the bad publicity, and continued to buy and develop properties for their communal living. A farm in Kansas. A base in Los Angeles. A loft in Manhattan. A compound on Martha’s Vineyard. A villa in Baja. They started selling their skills, and incorporated a high-end construction company, which designs and builds homes for Hollywood directors and movie stars.

According to the Family, Mel Lyman died years ago, on his fortieth birthday. The cause and location of death were never disclosed, and his body was never produced, leading to speculation that he went into deep hiding, and may still be among us.

Some of the Family spend most of the year down in Baja; the grandkids don’t visit as much as the elders would like, so they’ve started renting out casitas to tourists.

The villa was self-sufficient: solar-powered, eco-friendly, off-the-grid, farm-to-table. At one dinner, after an owner slid a huge plate of food in front of me, I asked if the chicken was one that he’d raised. Costco, he said. Similarly, when I complimented the person I thought was the cook, I was told that actually, the Mexican did all the cooking.

I never saw this Mexican, nor any of the other workers, though ostensibly it was they who kept the pool so clean, the garden so lush with water trucked in weekly from afar. I heard, occasionally, the voices of children. Once I peeked into the off-limits zone and saw a tiny shack. That must’ve been where the Mexicans lived.

I was a big empty HOLE trying to fill itself with TEARS – Mel Lyman, Autobiography of a World Savior

Seen from the beach, the villa’s grounds were an island of green in the sere brown land. Baja is a bone dry finger that pokes into saltwater. It presents two obvious possible deaths: one by drowning, the other by thirst. A third struck me as we were climbing up the stairs from the beach to the summerhouse: death by sunburn. Although I’d assiduously reapplied sunscreen to my child’s skin throughout the day, I hadn’t done so on my own. I was scorched, and hurt for days.

My thighs are now freckled, sun-spotted from the burn. Skin damage because of Baja. When I think of that time, I try to remember that the beauty and kindness shown, I try to remember that people sometimes grow and change, that every family is an expression of an attempt, that I am judging based on very little. The archangel and his mother, both progeny of the Family, were lovely. But really what I think about is Mel, and the shuttered away Mexicans, and the fact that there are no trees.

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FINDINGS

  1. Utopias are dystopias or satires; the kings are harmonica players.
  2. Actual attempts at ideal society fizzle out, as do actual attempts at living. Which is not necessarily a value judgment.
  3. Now you can strap the world you want onto your head. It’s in a box, this virtual world, this reality. You are immersed, as if in liquid. You move through this liquid world, seeing everything as if you’re right there. One can easily imagine an ideal world (safe, beautiful, egalitarian, fun) being successfully marketed and inhabited. Maybe you’ll be able to spend most of your life there. But from the outside, you’re still just a person with your eyes covered.
  4. Once, while walking along a river in the Canadian Rockies, hand in hand with a poet with whom I was wildly infatuated, I saw a vast herd of elk. I pointed them out to my companion, who was confused. I looked again. What I’d taken for elk were simply the dark spaces between trees in the forest. It is possible to confuse absence and presence.
  5. The Kingdom of God, I’ve heard, is all around us, if we have but vision to see.
  6. When not advocating wholesale genocide, my then three-year-old son sometimes (at least once) had moments of coruscating wisdom. One night on the tiny ferry we take from the mainland to our island home, he climbed out of his car seat and started speaking, as if in tongues:

    I am everything
    I am a grizzly bear shark deer
    I’m all the animals in the world
    I am everything

    I’m looking at the moon and the stars
    I’m the ocean and the fish
    I am everything

    I’m the boats I’m the trains I’m the excavators
    I’m all the pieces of equipment
    I’m the roads I’m the cars
    I am the signs

    I’m the houses
    I’m everything in the houses
    I’m the cupboards I’m the oven I’m the cereal I’m the food
    I’m the computers I’m the lights
    I am electricity

    I’m the windows I’m the grass
    I’m the trees I’m the birds I’m the sky
    I am everything

    Then he went back to potty talk and whining. We are all of us occasional prophets trapped in bewildered flesh.

  7. Utopia is a fertile lick of land in the floodplain of the Skagit River in Washington State. There were Utopians there once, briefly. They fled to higher ground during the first wet season, but the name stuck. My husband recently bought a plot of land there, in Utopia. On it, he will grow trees. They, the big leaf maples, acer macrophyllum, will be the new Utopians.

maple-in-vitro

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CONCLUSION

Jesus spit on the blind man’s eyes, and put his hands upon him, and asked him what he saw. The blind man looked up and said, I see men as trees, walking. –Mark 8:23-24

When my son was an infant and started to cry, I’d take him out under the Japanese maple. The green light under the leaves would calm him. Or maybe it was the aerosols. Trees talk with one another by releasing tiny chemical particles into the air. These arboreal perfumes are believed to make people feel healthier and happier. The Japanese invented a phrase for walking through the woods to enhance good health: shinrin-yoku, or forest bathing. These same aerosols seed clouds to make rain and cool our planet down.

Aerosols are tree cafe chatter, you’re not quite sure which tree is saying what. An even more sophisticated communications system, tree-to-tree talk, lies underground. The mycorrhizal network, also known among scientists unafraid of bad puns as the Wood Wide Web, is the connecting of various tree roots to one another by fungal filaments. The trees give necessary carbon to the fungi, the fungi reciprocate with food and drink, and act as carriers for chemical missives, nutrient love letters. A tree under attack by aphids or fire in one part of the forest can sound the alarm to other trees far away. Do they have feelings, these trees? Is it why a mother tree will fend off the growth of other trees nearby, but make space for her children? Why she will give them everything she has?

mycorrhyzalnetworkMycorrhizal Network

Charles Darwin, after Origin of the Species, turned his attention to plants. He believed that trees were like very slow-moving, upside-down animals, burying their root-brains deep in the dirt, and flashing their sex bits up above. Among the ancient Greek, the Druids, the Italian streghe, trees spoke with the gift of prophecy. Oracular trees.

Consider the trees.

Where I live now, on Coast Salish land, tree-people were the first people, then salmon-people, killer-whale-people, crow-people and others. After a while, human-people came along. I have no doubt that life was hard, and I don’t wish to romanticize – or to have lived in – any time other than my own. I do, though, wonder what justice looks like when trees are considered teachers and equals, as they were. I’d think that differences in our own species – language, culture, color, gender, ideas about god, fashion, all that – would look smaller, hardly worth mentioning, or at least more gracefully negotiated. If you can respect a cedar, might it be easier to respect someone who is not a mirror of yourself? Maybe we wouldn’t regard the world – or each other – simply as resources. In a world where everything is holy, the sun glints off the raindrops on the web of the divine, making the connection between all things visible.

Balance must look different, too, when man is not the fulcrum. No architect or author. No pale king.

It is easy to lapse into utopian thought. This world is bruised and marked and hardened. But still, it flickers between what it is and possibility. We must imagine what we cannot yet see, or can glimpse only through the cracks: a society made up of all these different kinds of tree, animal, and human people, learning the ways of one another and of the air, the water, the living dirt.

oz

—Julie Trimingham

REFERENCES

The Republic, Plato, http://www.gutenberg.org/ebooks/1497

Utopia, Thomas More,http://www.gutenberg.org/ebooks/2130

Candide, Voltaire, http://candide.nypl.org/text/chapter-18

Utopias on Puget Sound, 1885–1915. LeWarne, Charles Pierce: Seattle: University of Washington Press

The Return of the Utopians, Akash Kapur, The New Yorker, http://www.newyorker.com/magazine/2016/10/03/the-return-of-the-utopians

Ecotopia, Ernest Callenbach, Bantam Books

Ernest Callenbach New York Times obituary: http://www.nytimes.com/2012/04/27/books/ernest-callenbach-author-of-ecotopia-dies-at-83.html

The Ones Who Walk Away form Omelas, Ursula Le Guin, http://engl210-deykute.wikispaces.umb.edu/file/view/omelas.pdf

Utopia, Thomas More, available online at https://www.gutenberg.org/files/2130/2130-h/2130-h.htm

Autobiography of a World Savior, Mel Lyman, http://www.trussel.com/lyman/savior.htm

Steven Trussel has an online compendium of Mel Lyman information: http://www.trussel.com/f_mel.htm

The Lyman Family’s Holy Siege of America, David Felton, http://www.rollingstone.com/culture/features/the-lyman-familys-holy-siege-of-america-19711223

Once Notorious 60s Commune Evolves into Respectability, http://articles.latimes.com/1985-08-04/news/vw-4546_1_lyman-family/2

The Lost City of Z, David Grann, http://www.newyorker.com/magazine/2005/09/19/the-lost-city-of-z

Under the Jungle, David Grann, http://www.newyorker.com/news/news-desk/under-the-jungle

More links and information on Percy Fawcett: https://colonelfawcett.wordpress.com

A translation of Manuscript 512: http://www.fawcettadventure.com/english_translation_manuscript_512.html

1491, Charles C. Mann, http://www.theatlantic.com/magazine/archive/2002/03/1491/302445/

The Island of California was a common misconception among the Spanish in the 16th century. https://en.wikipedia.org/wiki/Island_of_California

The Island of California was thought to be a paradise, inhabited by Black women, ruled by Queen Calafia/Califia.

The Atlantic Monthly published an article on The Queen of California in 1864, Volume 13. https://books.google.com/books?id=pd9rm7JwShoC&dq=%22Queen%20of%20California%22&pg=PA265#v=onepage&q&f=false

The Power of Movement in Plants, Charles Darwin and Sir Francis Darwin, 1925, available for reading online at http://www.gutenberg.org/ebooks/5605

The Intelligent Plant, Michael Pollan. http://www.newyorker.com/magazine/2013/12/23/the-intelligent-plant

Do Plants Have Brains? http://www.naturalhistorymag.com/features/152208/do-plants-have-brains

Radiolab on tree talk: http://www.radiolab.org/story/from-tree-to-shining-tree/

Suzanne Simard’s TED talk on how trees talk to each other: https://www.ted.com/talks/suzanne_simard_how_trees_talk_to_each_other?language=en

Information on very old trees in Britain: http://www.ancient-tree-hunt.org.uk/discoveries/newdiscoveries/2010/The+Pulpit+Yew

Photographer Beth Moon has taken pictures of some ancient, powerful trees. You can see some of these photos from Portraits of Time and Island of the Dragon’s Blood. http://bethmoon.com/portfolio-page/

Beth Moon’s stunning images capture the power and mystery of the world’s remaining ancient trees. These hoary forest sentinels are among the oldest living things on the planet and it is desperately important that we do all in our power to ensure their survival. I want my grandchildren – and theirs – to know the wonder of such trees in life and not only from photograpshs of things long gone. Beth’s portraits will surely inspire many to help those working to save these magnificent trees. — Dr. Jane Goodall

I believe it is through the unique vegetation that the spirit of Socotra is defined, with mythical trees like the dragon’s blood tree or the fabled frankincense trees and the island’s culture so closely linked to nature which sets this island apart from the rest of the world.” — Beth Moon

The observer effect in physics simply states that the act of observing will change that which is being observed. It is similar to, though different from, Heisenberg’s uncertainty principle which states that increased precision in measuring the position of a particle will diminish precision in measuring the momentum of the particle, and vice versa. https://en.wikipedia.org/wiki/Observer_effect_(physics)

Smithsonian archaeologist Betty Meggers (1921-2012) is credited with coining the phrase counterfeit paradise, referring to the Amazon. Her book Amazonia: Man and Culture in a Counterfeit Paradise was, and remains, controversial in its contention that pre-Columbian Indigenous populations were, due to environmental restrictions, small and not very complex.

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Julie Trimingham is a writer and filmmaker. Her fictional travelogue chapbook, Way Elsewhere, was released in May 2016 by The Lettered Streets Press (https://squareup.com/store/lettered-streets-press/). She regularly tells stories at The Moth and writes essays for  Numéro Cinq magazine. Gina B. Nahai blurbed Julie’s first book, saying, “A novel of quiet passion and rare beauty, Mockingbird is a testament to the power of pure, uncluttered language—a confluence of feelings and physicality that will draw you back, line after graceful, memorable, line.” Julie is currently drafting her second novel, and is a producer with Longhouse Media (http://longhousemedia.org) on a documentary film about the Salish Sea.

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Nov 012016
 

torino2-018-beterAn Apology for Meaning, Artist’s Book, Genese  Grill

 http://wp.me/p1WuqK-kRQ

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My real delight is in the fruit, in figs, also pears, which must surely be choice in a place where even lemons grow. —Goethe, Italian Journey

My formula for greatness in a human being is amor fati: that one wants nothing to be different, not forward, not backward, not in all eternity. Not merely bear what is necessary, still less conceal it—all idealism is mendacity in the face of what is necessary—but love it.  —Friedrich Nietzsche, Ecce Homo

 

In Torino, Italy, once called Augusta Taurinorum in honor of the bull sacred to Isis, goddess of fertility, where Nietzsche went mad, embracing a beaten horse and weeping, dancing naked in his room, and practicing Dionysian rites of auto-eroticism; where, before his collapse, he enjoyed the air, the piazzas, the cobblestones, and the gelato; where the ladies chose the sweetest grapes for this reluctantly German philosopher, it is easy to feel the sensual, life-affirming, Pagan roots of myth-making, to understand those humanistic allegories that sing of life, love, pleasure, and appetite. At the opera, I heard Tosca sing, “Vissi d’arte, vissi d’amore” (I lived for art, I lived for love). I indulged in long wine-drenched lunches on unseasonably-sunny piazzas, and gazed at gleaming artifacts from ancient times in dark museums. There was a secret restaurant where a small fierce woman named Brunilde roughly took my order, displayed magical cakes with her wide toothy smile, briskly removed the empty plates that once held the most delicious food I’d ever eaten, brought me a shot glass with grapes soaked in absinthe with dessert, if I pleased her by ordering it, but growled me out the door if I was too full or too stupid to partake of her pride and joy. I was in residence at the Fusion Art Gallery on Piazza Amedeo Peyron, presided over by the wise and warm painter, Barbara Fragnogna, who told me about the market across the way which sold beautiful mushrooms, wild strawberries, and bread sticks huge, juicy olives. When I wasn’t eating, or wandering in museums, I was building an elaborate book which folds and unfolds, and is painted and glued and stitched, and “gold-leafed” with foil wrappers from the many gianduji chocolates I enjoyed. I threw off the layers of the Vermont winter to feel the wind and sun on my body, and was reminded of how much our conclusions about what life means are influenced by the relationship between our own physicality and the material world which surrounds us.

isis-and-osirisPage from An Apology for Meaning, Artists’ book by Genese Grill

Meaning is not something that we need to artificially superimpose on the objects and events of the world through some transcendental narrative or morality. It is not something we need to be taught or coerced into seeing by external social construction or manipulative indoctrination. If one is healthy, has an appetite, and senses for seeing, hearing, tasting, and touching, beauty will be everywhere, as “the promise of happiness” or, indeed, in the knowledge of happiness’s fleetingness or absence. We are given the gift of colors and sounds, of textures and of temperatures. And if all else fails, this should be enough reason to be grateful for life. In addition to this inherent meaning, this meaning without thought and evaluation, our intellectual response to the physical facts of the world makes us dream, imagine, and invent ever new celebrations and laments. These expressions will survive and proliferate insofar as other humans resonate with them. And what resonates will be made manifest in real made things, in built places, in enacted experiments. This is a discourse and manifestation over millennia, from the ancient cave paintings to today: humans trying to make sense of the terror and tenderness of the world. We do not despair, we artists and “creative subjects”. Nor do we invent meanings that attempt to twist the facts of nature: Gravity and Mortality are real. Instead, we work with what there is, and endeavor to embrace it in all its fractured glory. Thus, also, the things that we make with our hands, out of paper, pigments, wax, string, fire, earth, water and air, will fade, crumble, dissolve in good time. They are already fragile, already very imperfect, already mostly forgotten. And yet, their fleeting presence is of the utmost importance.

I am sitting on a bench in a church entranceway. A gray, cool, dreamy late morning. Some high school students, girls and boys, gather at the other end of the stone courtyard, gossiping, talking, laughing. Old people, alone, walk in and out of the church. It is a Monday, and most shops here are closed, their metal gratings pulled down. Dirty pigeons coo. In the back streets, a gentle squalor; clothing hanging from lines; abandoned bicycles resting against elaborate gates. On the walls, scraps of political agitation, left and right, shreds of old posters, graffiti scrawls. People talk, but I don’t understand. Markets everywhere, with abundance: artichokes and more artichokes, wheels of cheese, sausages, chickens, lamb shanks, lemons. People smoke and joke, are grim or warm. On my walk here I passed a waitress carrying a tray of espresso down the street from a café out of sight, and a silver piece of paper blew to the ground. I picked it up and handed it to her. Grazie, Signora. An elegant lady walks up the church steps now, in perfectly matching brown and gold, soft brimmed hat with gold trim, a brown cane, brown coat with fur collar, a purse of gold and brown plaid, little brown shoes, dark sunglasses. All her belongings and all her faith perfectly intact from another era. Trucks rumble by; otherwise it is quiet, peaceful. Balconies preserve foliage from the summer, not quite dead, but not quite blooming, vines dangling; a single bruised yellow rose lilts; while back in Vermont everything is covered in snow and ice. This is a life. Anywhere is a life. How different, how similar is it to and from mine, from or to yours? And how does it happen that it evolved to be like this here and some other way somewhere else?

As Goethe noted in his famous Italian Journey, an experience of difference both enunciates one’s individuated self and dissolves it. Visiting another world, you imagine that you might have been, could have been, still might be, sort of someone else, leading a different life in a different country, in a different language, with a different family, lover, children, vocation. Your certainties, the things you took for granted, are called into question. You would be more comfortable not examining them, not questioning: why do you and your fellows do what you do? Are these differences a result of customs, habits, social constructions, error, accident, nature? Are they the result of our upbringing, something atavistic in our blood, or determined by the atmosphere, the landscape, or the history that surrounds us? The external differences—are they petty? Do they alter from the outside who we are inside? Or are they representative of who we are, from the inside out? Ask a novelist or a method actor how much each gesture, each phrase, each seemingly minor choice reveals about identity. The way we eat, how much beauty we need, or how much labor, leisure, love, rigor, sleep, poetry, space, air, skyline, horizon, practicality, recklessness.

And now I am experiencing the differences, the strangeness here in Torino, among people for whom all of this is natural, normal. I enjoy this sense of difference, to a point, as most of us do. We seek it out, we are sometimes sick to death of our own lives and want to gaze at, play at others’ lives; but only for a spell. It can be tiring; one feels alien; sometimes wants to cry out of frustration because everything is so confusing and the simplest things seem impossible; and the people look at you like you are an idiot and you are in a way. You are an adult who does not know things that a child knows.

I get lost often. Sometimes a piazza will have four different entryways with a statue in the middle. Who can remember which way one entered or egressed from? Since I am not usually in a hurry, I wonder why this should matter to me. Maybe because we want always to seem like we know where we are going and as if we already have everything we want. And this has something to do with desire and the desire for love, which is sometimes shameful. As a stranger one wants something. Is looking for something. Has left home to find something that one does not already have. Desire is the need to become one with what is foreign, to take it into oneself and to be embraced by it as well. As Ann Carson tells us in Eros the Bittersweet, we long to be one with the other, but when we have assimilated what was once strange, it is no longer the other and no longer serves its purpose. Knowledge comes only at the cost of desire fulfilled; we can only seek out more and more things, people, places, books, mysteries we do not yet know, have not yet seen or solved or read so that we may experience that supreme thrill of coming to know again and again. We crave difference, but we also cannot keep from looking for likenesses. We seek both everywhere. And the new experiences we have are continually threaded back into what we already know.

NietzscheNietzsche ca. 1875

In the Egizio Museum in Torino I am astonished by the way the ancient Egyptians had the same instinct for symmetry as ours; for placing each depicted object or vignette centrally within a frame; for aligning each hieroglyph in a uniform square of space; for leaving the most graceful and harmonious negative space between the hand of the man holding a slaughtered bird by its neck and the fronds of the plant in a vase by his side. A sense of what is beautiful, evidently, is at least somewhat natural and universal. And the works of art or ritual made with this sense of what is beautiful still resonates with a mysterious significance, even if we today cannot fully understand or believe in the things that were sacred to the people who made them. Translation across time and cultures is needed for a more thorough comprehension of these artifacts, but something very powerful, something powerfully familiar is present even without a struggle. What we want is to maintain the strangeness, while approaching a comprehension. What we must avoid is to diminish difference in the interest of a complete and total homogeneity.

I am operating in a language I barely know, but I do make myself understood, more or less, with the few Italian words I mispronounce and the few I manage to understand. A good part of the pleasure of communication is in the frisson of partial misunderstanding, in the incommensurable distance between one mind and another, struggling to approximate a shared vision (as in the erotic desire to become one with the unknown). Translation is necessary even without a language barrier, and we all do our best to reveal and also to conceal our meanings from each other. It is a dance. Sometimes clumsy, but sometimes surprisingly beautiful. The differences between language, as Steiner suggests, may be a result of a human need to differentiate one group from another, to keep secrets, to individuate from what may be a basically universal commonality. There are twin drives to compare and contrast, to find analogies, metaphors, likenesses; and to delineate differences, incompatibilities, untranslatables.

Today our basic assumptions about correspondence and difference are paradoxical. On the one hand, there are those who insist that everyone is equal, the same, indistinguishable (or that they should be, were we to look beyond external, physical differences). On the other hand, these same people tend to insist that it is impossible to understand the other; that there are no universals; that there is no shared sense of value; and that language barely helps us to communicate with each other at all, since it is so very distant from the things it claims to signify as to be more deceptive than descriptive. Both of these assumptions depend on a denial of the importance of the physical world; on a denial of any meaningful relationship between nature and cultural norms, between the physical world and the language that describes it; between the human brain and its sensory apparatus; and, finally, between one human brain and another. In reality, things and people are self-similar and they deviate from sameness; but even the deviations do not prohibit some approximation of understanding.

Those who deny difference and simultaneously insist on incommensurability are trying to do two contradictory things at once: 1. to strip away differences that might cause conflict or justify hierarchies or discriminations, resulting in a neutering and neutralizing homogeneity, and, 2. still paradoxically denying that these newly neutralized beings will be able to understand each other despite the pervasive removal of the characteristics that seem to have caused all the trouble in the first place. Perhaps the unspoken hope is that the neutralization and leveling, the moral rejection of the physical world (beauty, ugliness, pain, pleasure, difference) will eventually really result in a homogeneity so complete that, even if we no longer have anything interesting to say or any unique artistic expressions to make, we will at least make no more war, at least harbor no more resentment or hate against the “other”—because there will be no more other. And no differential qualities whatever to get in the way of perfect passive niceness. On the one hand, we are ignoring the inevitable consequences of our neutralizations, neglecting to weigh how much difference makes life rich and strange and fascinating. And, on the other hand, by critiquing conceptualization, deconstructing symbolic archetypes, and undermining the significance of language, we are denying the natural affirmative instinct for finding likenesses and correspondences.

On one level, seeing shapes and patterns where they are not “really” present may be called “pareidolia,” most often ridiculed as a psychosis that sees Madonna and Jesus faces in rock formations and baked goods, endeavoring to prove through argument and scientific study that the piece of fabric housed in a crypt in Torino once was wrapped around no one other than Jesus Christ. The Shroud Museum has rooms filled with “evidence” of why we should believe the shroud belonged to Him: there are blood stains from where the crown of thorns would have been; stains in the shape of wounds suffered when he was tortured, an exemplar of the instrument with which he would have been scourged. The fact that there is just one wound mark where his feet would have been is explained by arguing that both feet were punctured, one atop the other, with but one nail. There is no mention in the museum of the carbon dating done on the fabric, which dated it to a time much later than Jesus’s supposed death; but there is an example of the loom upon which the cloth might have been woven and an example of a crown of thorns, which is arched like a dome and not open like a wreath. Image after image is presented to convince the skeptic that the shroud belonged to Jesus. At first it is hard to even see the shapes that would suggest any face or any body, but, as if one were gazing at one of those magical illusion pictures, if one looks long enough, the desired shapes begin to come into focus—and fade just as quickly into indistinguishable marks again. Desired shapes: the shapes one wants to see.

torino4-019Page from An Apology for Meaning, Artists’ book by Genese Grill

Fresh lovers often insist that they are “exactly alike,” noting that they both amazingly like chocolate or were born on a Friday as signs that they are made for each other. And even someone as wise and experienced as myself may choose to be deluded into reading into signs that may not be there at all, thinking that the intern at the artists’ residency is making eyes at me, when really he probably just looks at everyone like that. He had told me tales of rituals in his home town where someone would dress up as Dionysus in animal skins and horns, a bag of blood hidden under the pelts, and someone else would chase after him and “kill” him, spilling blood all over the streets. But what did that mean?

Of course, all of our seeing is a process of selecting out that to some extent overlooks the fact that reality is a mass of non-delineated color and light, a mass of shifting molecules temporarily huddled into seemingly distinct shapes and entities. We can question whether the things we see are really rightly to be delineated as separate or if our particular arrangements of what belongs with what or who belongs with whom are comprehensive contextualizations or merely constructed biases, wishful thinking, or limitations. We can say the same thing about words and the concepts that they form—that words are a crime against the multifarious differentiation of reality, that they name and delimit what is really irreducible and unnameable. Names and words and categories pull some things together with other things, leaving other things out, and ignore the qualities of the named and categorized things that do not fit in with the given names—qualities that might render these things more fitting to be named and arranged in different categories altogether. Is the creation of a concept a form of psychosis, hallucination, wishful thinking, pareidolia?

When we note a pattern, say, of bird or insect movement, of repeating forms in nature, in fairy tales, or of habitual actions in our own lives, are we ignoring all of the elements that would render the categorized thing, action, or thought unfitting to be classed within the desired arrangement? Or is there really a way to establish that something is enough like something else to conclude that it is a pattern and thereby attempt to draw meaning from it? Of course, this is essentially the scientific method, but we use it indiscriminately every day, without the necessary “controls” to make our experiments scientifically viable. And science itself is subject to the same kind of criticism: even if its trials are well-documented and avail themselves of responsible criteria for investigation, the scientists have, as we well know, already decided to ask some questions over others, thereby determining what kinds of answers might be found.

But here is the crux: we do all this because we want, we need to draw meaning. And we draw meaning most readily from things that repeat or seem to repeat, from something that seems to be universal or at least not a mere exceptional random aberration. It might be absolutely accurate to say that (at least on a molecular level) everything is everything and thereby all patterns and all names and all conceptualizations are inaccurate and limiting, that the only accurate vision of reality is of a moving mass of colors and light without delineation or individuation. Babies start by seeing that way, but over time begin to recognize (or is it imagine) shapes, distances, faces. Carl Sagan writes that pareidolia itself might be an evolutionary adaptation, since those babies who were able to recognize faces responded to expressions, inducing them to smile, and make eye contact, so that they were cared for, and thus survived. This is rather suggestive, because if we were to consciously try as a culture to repress conceptualization, arrangement, and the meaning-making that rests on this patterning process, we would end up being unable to communicate with each other, and we would simply not survive as either individuals or cultures. Autistic children have a hard time making the kind of eye contact that Sagan suggests was good for survival. And many say that we are now becoming a culture of autism, one in which people do not communicate, one in which people are trapped in their own worlds without the ability to share experience, emotion, ideas. Thus, although the process of making arrangements and making concepts does perforce leave things out, although it may sometimes be inaccurate, although it may sometimes look like psychosis or pareidolia, it is far better to make provisional arrangements and to use language and concepts (always acknowledging that they can change and rearrange) than to exist always in an undifferentiated sea of colors, sounds, and non-shapes, unable to communicate.

But after visiting the Shroud Museum in Torino (the actual cloth is carefully hidden inside its box, only to be taken out on rare jubilee days), I do not believe that the shroud of Turin belonged to Jesus. The form of the body suggested by it is simply not sinuous and beautiful enough to satisfy our mythic desire for him. The image that the experts draw from the bloodstains is of a bulky square-shouldered man, not at all the sweet beloved of the visionary mystics as depicted in paintings over centuries. Just as the scientists who discovered the shape of the DNA molecule knew that they had finally found it because the double helix was the most beautiful configuration, so we can see that the shroud did not belong to the son of God because of the gracelessness of its traces.

256px-full_length_negatives_of_the_shroud_of_turinFull length negatives of the Shroud of Turin

There has to be a difference. Difference is thrilling, is frisson, is friction. If there were no difference, no distinction, no discrimination, no delineation, we would see nothing. Everything would be one blended morass, one moving, shifting mélange of everythingness. No shadows, no lights, no textures, no patterns or deviations. So we like to go away, discover new things, challenge ourselves, compare and contrast the familiar against the strange in order to understand, again, our expanded selves. And yet we find ourselves in a constant emotional oscillation, a cycle swinging between comfort, tedium, restlessness, curiosity, desire, risk-taking, danger, exposure, discomfort, exhaustion, home-sickness, comfort, tedium…ad infinitum.

Thus we come to the necessity of maintaining some borders at a basic level, personally, and then globally. We need secrets, mysteries in order to remain where we are, among our fellows in our homes, in our romantic relationships; or else it is as if we were running rampant around the neighborhood, around the world, continually searching for newness, making so many things the same as we unite with them, making everything homogeneous and known all too quickly. A promiscuous lover is someone who has not learned how to mine the depths of himself and his beloved; is quickly bored; doesn’t have enough inner resources to discern the depths hidden in his lover; thus he moves on quickly in order to stimulate his poor imagination. Curiosity, desire, conquest of new ideas and intellectual territory, all have their value: but they should not be gluttonous. If we are to feast, let us leave time for regeneration of resources; let us make sure we properly savor what we are sacrificing and devouring. The communion of the self with the other cannot be celebrated so swiftly that all differences are leveled out, sanded away, consumed by the Moloch of desire for newness. This touches on the problem and pleasure of materiality. The basic limitation of resources; that they are not infinite. You can melt down idols to make new ones, but then the old idols no longer exist. How can we contrive to keep the old ones and erect new ones, too? Of love we can barely speak in this regard: the old lovers are replaced by new ones, yet they remain, one hopes, still within us, and we within them, in traces, some very potent, as we continue to consume and appropriate and expand, becoming new ourselves and shedding strangeness as we go, exploring our anti-selves, the characteristics we harbor that are anathema to our primary identities and the identities of our native lands and cultures.

After writing The Sorrows of Young Werther, and serving many years as advisor to the Duke of Weimar, Carl August, Goethe “stole” away at three in the morning, from his friends, his duties, and his romantic (but non-sensuous) relationship with Charlotte von Stein, to sojourn in Italy for two years. There he found himself in contrast to the differences he experienced, searched out the ancient remains of classical Rome, learned about architecture at the foot of buildings designed by Palladio, learned to see by looking at Italian paintings, developed his concept of the universal Ur-Pflanze from which all plants metamorphose (Alles ist Blatt), and enjoyed, above all, the weather and the fruit. His wonderful account of his adventures includes detailed descriptions of the geology, flora, and fauna of the countries he passed through), along with evaluations of artifacts, architecture, painting, and peoples (he burdened down his pack with rock specimens as well as heavy books). Referring to the Greek god, who could not be conquered in wrestling matches as long as he remained in contact with his mother, Gaia, Goethe writes, “I see myself as Antaeus, who always feels newly strengthened, the more forcefully he is brough into contact with his mother, the earth”.

The Germans have always harbored a romantic longing for the physicality of Italy, “the land where the lemons bloom,” as Goethe writes, as mythic antithesis of everything Germanic (stoical, cold, disciplined, abstract). Nietzsche sojourned to Torino, a Dionysus on the River Po, in conscious ex-patriot spirit. What meanings did he find there, that philosopher with a hammer who famously denied the existence of “Das Ding an sich,” and called on us to bravely consider the abysmal probability that there is no meaning or purpose to life whatsoever? He certainly meant that there was no predetermined meaning or God-given purpose, no purpose ordained by a God. But he did not mean to repudiate the ways in which the world can be meaningful (affirmed, celebrated, enjoyed). For his rejection of the “thing in itself” was decidedly not a transcendental call to celebrate merely the disembodied life of the alienated mind out of touch with the physical world (a thing in itself, surely, despite Berkeley’s skepticism, and despite the inability to know it absolutely or objectively beyond phenomena). Here in Torino, this city so beloved by Nietzsche, while I am struggling with the question of meaning, I feel compelled to come to terms with him on this question. We are in agreement on the central importance of the material sensuous goodness of the world and on a deep suspicion of any ideologies which aim to affirm something in contradiction to the facts of this real.

goethe_stieler_1828Goethe by Joseph Karl Stieler, 1828.  (Public domain)

Ecce Homo, which he wrote while in this city, begins with a serious discussion of the vital importance of digestion, weather, and music, all experienced by Nietzsche (and clearly by Goethe as well) as fundamental physical requirements for living the right life. The theological-metaphysical questions are deemed unimportant at best, treacherous deviations at worst.   Thoreau, whose first chapter in Walden is called “Economy,” planted beanstalks as the most efficacious conduits to a realm where one might best consider “higher laws”. It makes one wonder what would have happened to Thoreau had he visited Italy (he traveled a great deal, he noted, in Concord). Would he have abandoned his dietary restrictions against drinking coffee? Might he have succumbed to the animal spirits and fallen in love? Margaret Fuller, who translated that comprehensive man of spirit and sense, Goethe, complained about the disembodied tendency of her friend Emerson (and Thoreau was even less sensual than his mentor), did travel to Italy and fall in love, gave birth to a probably illegitimate child, and participated in the Italian revolution. If she had not tragically drowned on her return home, she might have infected all of Concord with a new European sensuality! Just imagine. Nietzsche, who admired Emerson greatly, who was just about as abstemious and celibate as Thoreau, still knew how to reason from the hands to the head, as the bard of Concord counseled—and from the stomach too, though, it would have to be a strong one.

Love of Fate meant for Nietzsche a love of life exactly as it is, which seems to suggest a belief in a thing in itself after all…the world in itself, as it is—mediated by our senses, our tastes, our interests, our desires, yes, but not subject to utter transformation of its basic realities: mortality, gravity, pain, beauty, brilliance, energy, stupidity, music, pleasure, illness, cold, sunshine. Darwin explained all of this in his own way. We don’t live in a friendly universe. The world cares not a fig for our personal happiness, though our genes may well fight mightily for their own generation. And the connection to Spinoza, greatly admired by Nietzsche, may be helpful: the world was not made for us humans, and thus should not be judged according to how well it does or does not serve our aims and desires. The world is good in itself. Is god, is divine in itself, whether we are experiencing petty miseries or committing atrocities. The world is beautiful, even without the concept of beauty invented by humans. We are to look at the world from the “perspective of eternity,” which is not a transcendental perspective, but, rather, one which provides an angle beyond our own particular immediate interests. Objectivity? Well, not quite. With Nietzsche we can speak of a perspective from the mountain top, as far away from the flatland as possible, but with a knowledge of the subjective world of taste and senses. Nietzsche writes, in The Twilight of the Idols, “One would have to be situated outside life, and on the other hand to know it as thoroughly as any, as many, as all who have experienced it, to be permitted to touch on the problem of the value of life.” For, if our reflections seem all-too mercurial, shifting, and arbitrary from the perspective of eternity, closer up they are instinctive and healthy tastes, responses to and engagement with the world.

As subjects, creative subjects, we make of this world as it is what we can. We cannot help but make meanings about it. But let these meanings be in metaphoric harmony with the real facts of nature. Let us make and preserve myths which help us to understand, to celebrate and to weep over the true facts of human existence, and its true pleasures and pains. Gilgamesh is struggling with the death of his friend. He searches for a way to be immortal, to conquer death. But when he thinks he has found it, a snake eats the magic herb he has foolishly left on the shore while he swims. Thus, although humans must be mortal, a snake can continually shed its skin. A true myth. The kind of fiction that Nietzsche railed against was of another kind: a false fiction, one that repressed the reality of death, repressed natural instinct and pleasure, repressed sexuality and the will to power, repressed beauty and energies and great health and desire in the interest of a transcendental Idealism offering an afterlife, and some sense of pious righteousness in exchange for all that made life meaningful. The myth of Christianity he would battle with the myth of the beautiful drunken god: Dionysus versus the Crucified One. Thus, he aimed, not to do away with all myths (that, in fact, was Socrates’s great sin, according to Nietzsche), but to celebrate the myths that are in accord with the true facts of life. Steiner quotes a cryptic passage from Nietzsche’s notebooks: “God Affirms; Job Affirms.” And glosses that Nietzsche was referring to his idea of the aesthetic justification of the world. The world of wonder and beauty. Look at what I made, says God to Job. I made the Leviathan. I am an artist. Don’t talk to me about your petty troubles.

And here in Torino, Nietzsche, enjoying a rare respite from his chronic pain, in withdrawal from Wagner, the Wagnerites, the Germans and their obtuse Idealism and Morality, enjoyed the sunshine and the air and the food and the gelato (but not the wine); enjoyed the graciousness of the people; and the lightness of Carmen (Torino was “tutti Carmenizzatto”). The world that Nietzsche celebrated was not so much a world of the future, a world of future higher men, but a revival of Renaissance and Pagan values. Not at all the postmodern insipid relativity of values with its snide rejection of beauty, nobility, genius, aristocratic individualism.

512px-friedrichnietzscheturinNietzsche dedicatory plague in Turin

Meaning has been attacked from two sides: on the one hand by the commercialization and commodification of life, by the simulacrum covering up an abyss of shallowness and the emptiness that is left over after the orgy of sensationalism, as humans become more and more bereft of any real connection to nature, human relationships, history, culture, beauty, pleasure, divinity, sacredness. On the other hand, it has been attacked by the cold lizards of theory, who feel nothing themselves but only touch us with their clammy hands so that we too feel a chill and cannot sense the heat in what naturally should move us. These theorists even dare to claim Nietzsche as their own. Because he questioned the idea of a transcendent meaning, aiming with his iconoclastic hammer at the ideology that denied the real meanings of the world, they use his words as an attack on meaning altogether. Because he called for a transvaluation of values, they use his words as an attack on values altogether, missing his joyous celebration of the values of nobility, of the Renaissance, of ancient Greece, of great art and great men, of genius and beauty and rapture. Indeed, he had a hammer (though sometimes it was a tuning hammer for a piano, not a bludgeon), and there was smashing to be done. He was a great destroyer, who called himself “Dynamite.” But he destroyed only as a preliminary to creation. The epigones took up his hammer and began smashing even the idols Nietzsche himself had venerated. They smashed veneration altogether. And in their adolescent giddiness, in the din of their mob fury against what was once great, in their ressentiment, they did not hear the most important part of his message: the axes must be turned into chisels, to carve new idols, new values, new words, new forms, new metaphors, ones that honor what is vivid and beautiful in life, ones that affirm the instincts and the senses.

In a museum in Torino I saw a painting of Santa Lucia, her bloody eyes on a plate. She was a good pious girl, promised in marriage to a pagan, whose mother was ill. She was called by an angel to devote herself to Christ instead of the Pagan fiancé, and in exchange, her mother would be cured. She willingly did so, refusing to bow down to the Emperor, and giving her dowry to the Church instead of her future husband. For this, some say, her eyes were gouged out. Or else she cut them out herself so as not to be attractive to her husband-to-be. She is lovely and fierce in the paintings, and probably the man they had chosen for her was a brute and not to her taste; and her devotion to Christ healed her mother; but can we not think of a better story for her? Is this really a model worthy of imitatio? So many of these maiden saints, who refused arranged marriages and gave themselves to the disembodied fantasy of the beautiful, scantily-clad Christ instead, were exercising the only power they had, and for this they are admirable. They found, by these religious subterfuges, one way of protecting themselves from drunken brutish masters in the form of husbands, pimps, and fathers. But their virginity was no great prize. Can we not imagine stories for them with better endings? Lovers to their tastes, freedom to choose, to adventure beyond the convent or house-wifely walls? Instead of continuing to venerate the lives of these pious girls, we would do well to imagine new vitae for them, lives lived in rebellion, not against Pagan Emperors and sexuality, but against the control of their bodies and souls by male authority figures, lives lived in full flowering of their sexuality and pleasure-loving instincts, in celebration of female desire. We must make new saints, and also revive old models worthy of veneration from the archives of history, woman and girls who knew light and dark, pleasure and pain, flesh, the devil, and the divine sweetness of the embrace of a beautiful, living beloved body. Poor Santa Lucia. We pity her and regret the loss of her beautiful eyes. And then, in her honor, we go looking for traces of other myths or at least a few fallen figs from some controversial historic feasts, to savor from the safe distance of a relatively tame and unromantic time.

512px-santaluciaPainting of Santa Lucia, Syracuse Italy

I am on my way to Gardone Riviera, on a pilgrimage to visit Il Vittoriale, the monumental house, shrine, and garden of Gabriele D’Annunzio, Italian novelist, poet, patriot, lover, and aesthete. When I mention him to people here they sometimes seem uncomfortable; because he was wild enough to disregard the Treaty of Versailles and take over the island of Fiume to turn it into an artistic utopia; because of his relationship with Mussolini; because he represents or seems to represent many things that are nowadays in bad odor. To get there I have to take a train to Milan and one to Brescia and then a long bus ride.

It is a misty, cool, warm morning in February, and confusions proliferate: about trains, ticket machines, banks, language, customs. They seem to do everything differently here, but for them that is how it is done. Then I realize that even in my own milieu I am strange. That I am strange, wherever I go. An artist is outside of society, but also very inside it. Inside of life. Observing, but also feeling through and for everyone and everything. After writing that down I wonder if it is arrogant, as if I were suggesting that regular people don’t feel, are not conscious. No, it is not that, but rather that their attention is mostly elsewhere, and ours is so often concentrated on reflection, on the symbolization of everything. Watching gestures and configurations, listening to emphases and choices of words, noticing formal variations and repetitions. As Suzanne Langer notes, to use symbols (rather than just signs) is to talk about the world, not just to denote it, not just to deliver information, but to consider how things are, and even why. And as artists, our lives are consumed by symbols and symbolic interpretations. The entire phenomenal world is to us a sort of symbol-picture of something else. No, not of another world, as Plato would have it; not a bad copy of some perfect original, but actually a symbol-complex of itself.

The phenomenal nature of the physical world means to us. But we don’t make of it what isn’t there, but see in it all that there is to be seen in it. Well, not everything at once—that would be too much, that would be a jumble. But we see many things, one after the other, from different perspectives, in correspondence; we have many ways of seeing meaning in what is. We are curious about how things are made; where they came from; how they were invented; what human need they answered; what history they contain; what natural materials; what natural miracles are evident in their existence; what they tell us about human and animal life, past and present, about desires, fears, curiosities, mistakes, kindnesses and cruelties, despairs and foolish hopes. Thoreau, allegedly an arch anti-materialist, collected and used objects to trace history… as artifacts of material culture, looking, always, for the law and the deviation. Goethe, a naturalist and collector of botanical, geological, and artistic specimens, traced the variety of the plant world back to one original Ur-Pflanze, and then envisioned the entire world of objects and behavior as an allegory for this constant development, this constant Becoming (Werden), from out of the essence of Being (Sein).

All artists mine objects, physical acts, stories, events, speech utterances, places, buildings, man-made and natural, for their significance, for traces of how and what we have dreamt of and done battle for; for their own qualities and also for the way in which they are allegories for other things, feelings, events, experiences; for the way they seem to echo and repeat. When we see repeating patterns we naturally sometimes think we have learned something about life, some tendencies or natural laws…and, despite the doubts shed upon such instinctive correspondence nowadays, often it is true. But it would be foolish to take only one or two experiences and construct a final story about life. The largest, broadest vision would be necessary to oversee all the conflicting narratives before coming to any conclusions. Life is brutal, life is tender. Humans are brave, are craven; are polygamous, monogamous; people of habit, craving change; we like to deviate and to stay close. So, whenever we try to maintain just one thing we discover another side or possibility, but not to the extent that everything cancels everything else out. We may still come to provisional conclusions about the nature of the world, society, our lives, about what works and what does not; in fact we must. But let these not be rigid or polarized, let us not base hasty conclusions solely on either the sum of the good or the sum of the bad experiences. A little hope is healthy, as is a touch of denial, since sometimes things turn out better than one expects, even in the worst of circumstances. As much horror as there is, there is also always good. Neither can be cancelled out by the other. We must see it all. Read it all into what we find before us. Find a way to embrace it all. Amor fati—Love of fate.

I arrived at Gardone Riviera too late in the afternoon for a tour of the house, so began my visit to D’Annunzio’s Il Vittoriale degli Italiani with a sunset stroll around the “most beautiful garden in Italy”. From my Neo-Classical hotel, with its palm trees, classical columns, and reproductions of Roman sculptures, I walked up the steep winding paths and stairways to the grounds, past little houses perched amid orange trees and covered in vines, until I found the gate and entered D’Annunzio’s strange dream: grottos with idols; walkways beneath portentous archways; a sudden St. Francis of Assisi; a fountain encircled with gorgon heads; a lofty monument to the heroes of Fiume; a giant boat docked on land; columns topped with statuesque nudes. A sign before a sun-dappled little garden made up of rocks, small columns and upright missiles, informs the visitor that this is the most sacred spot of all. The “little lake for dancing” is at the bottom of a steep ravine, reached only by winding down hundreds of small stone steps. The large amphitheater is encircled from behind by tall cedars and the snow-capped Alps, and its stage has a gleaming Lake Garda as its backdrop. I imagined Isadora Duncan, one of D’Annunzio’s many lovers, walking there—as if on the water—in consummate Classical grace.

torino2-015Page from An Apology for Meaning, Artists’ book by Genese Grill.

That night I wandered around the out-of-season resort town, looking for somewhere to dine, lighting upon Caffe D’Annunzio itself, one of the only places opened, where three or four locals were crowded around a counter drinking wine. I nursed a negroni on the closed-down patio while wondering what Il Vittoriale means. Why, I wondered, should it make us uncomfortable? D’Annunzio had a sense of the heroic about him that is out of fashion today. A sense of superiority and sacredness, a will to power, a contempt for lowliness, sickliness, vulgarity, cowardice. People may mock D’ Annunzio’s mythologizing, moralistically decrying his frequent bad behavior, I think—or perhaps this is the gin and the absence of a restaurant—, but at least his impulses were signs of life, of appetite. D’Annunzio might well be censured or ridiculed for his celebration of militarism and his association with Mussolini , for his many lovers (whom he adored, but also treated atrociously), for his many dogs and his race cars, for the consciously elaborated mythology of himself as a demi-God, for a combination of wounded pride and delusions of grandeur—except that he was a great writer, and his grand lifestyle enriches our collective imagination.

 

nunes_vais_mario_1856-1932_-_gabriele_dannunzio_sdraiato_mentre_leggeGabriele D’Annunzio Reading by Mario Nunes Vais (1856-1932)

Compared to the lukewarm morality of today, our smug conformity and communal piety, D’ Annunzio’s mythic theatricality exercises a certain attraction. Considering all of this, I found myself laughing out loud at the mad, mad world, strolling on the closed-down boardwalk. I was dwarfed by a 19th century edifice, crowned with a bright yellow Renaissance-style tower with the words GRAND HOTEL emblazoned in golden-tinted mosaic. It was a huge sprawling place where Churchill and Mussolini, and many other mortally-flawed heroes and villains stayed. Like most everything else here, the historic hotel was boarded up until May, and the boardwalk was surreal, empty, but for a lone palm tree swaying on the promenade. In my drunkenness, with the help of a kind stranger, I managed to work the cigarette machine I found on the way back to my hotel, and smoked a rare cigarette—which, in its rareness, got me even higher—and wondered about the difference between aesthetic individualism and fascism. The cigarette, in its naughtiness, helping me to flirt with the decadent charms of immorality.

Aesthetic individualism is associated with culture, beauty, delicate sensibilities, the collection and preservation of fragile artifacts, and an internationalism that revels in the multiplicity of the creative imagination; fascism is nationalistic, collectivist, brutally destructive, anti-intellectual, a danger not only to human beings and their ethical freedom, but also to the beloved precious buildings, artistic and historical artifacts so admired by the aesthetic individualist. So why would they ever, why do they sometimes keep common cause? In the case of D’Annunzio, we have a man of letters whose only real political affiliation was with the Party of Beauty, but who in fact did collaborate with a man who would subsequently become a fascist dictator. But even before Mussolini came to be Il Duce and to be called by D’Annunzio “an evil clown,” their relationship was strained. They came together at the start of World War I, over a shared vision of a new Roman Empire, a romantic ideal that called for the re-annexation of Trieste, Fiume, and other territories that had once belonged to Italy and which, they both agreed, should once again be theirs. D’Annunzio roused his countrymen to enter the War and to defend the French culture under siege, with speeches and street theater, and fought on the front lines. But after the Treaty of Versailles failed to reward the Italians for their sacrifices in the war, he took history into his own hands, and, with a ragtag militia, easily took Fiume back for the Italians, to the cheers of the mostly Italian populace, and tried to found an artistic utopia with a democratic constitution there. Mussolini kept himself scarce and watched from afar as the dream foundered over the course of a little more than a year, only later to seize Fiume from the Austrians himself, this time, much to D’Annunzio’s displeasure, to make it part of a fascist state. The fascists were frequently embarrassed by D’Annunzio’s eccentric sybaritic antics, his poetry and his displays of what they considered “feminine” voluptuousness; his nude sunbathing and worship of art. His association with workers’ collectives agitating for unions and civil rights also complicated matters. When D’Annunzio was not being swayed by the democratic socialists, or being lured into shady dealings by the fascists, he was doing whatever he fancied, collaborating with composers on operas, writing plays for his lovers, writing sumptuous novels and books of poems about his lovers, spending money he did not have on beautiful books and objet d’art, and making love. He felt that Mussolini had abandoned him at Fiume and that he did not give him the credit he deserved for bringing Italy into World War I; but Mussolini the dictator saw to it that a national edition of D’Annunzio’s complete works was published and that the extensive quixotic renovations of Il Vittoriale be funded in part by the Italian government. D’ Annunzio, in turn, dedicated his house and grounds to the Italian people as a monument to the soldiers who dared to take Fiume with him. It was also a retreat. Although he had dabbled sensationally in politics and war, he was, by nature, an aesthete who enjoyed comfort and sensuality. Luxury, he wrote, was as essential to him as breathing. He liked to sit at the feet of lovely women, and shower them with flowers, leaf through ancient leather-bound books and recite poetry in the dark. Over the course of a five year period, he once wrote over 1000 letters to one woman alone. They don’t make men like D’Annunzio anymore. In the mostly empty dining room of my hotel, there were none to be seen, so I gave myself to a large piece of black forest cake with whipped cream, and the conversation of the owner and his friends, who tried to get me to drink more and more champagne and spoke to me in a mixture of broken English and mostly incomprehensible Italian. Somehow I stumbled upstairs alone, somewhat nauseous, and had a nightmare about D’Annunzio. Or was it a dream?

The following day I made it into the sanctum sanctorum, D’Annunzio’s house. In the entryway to what he called “the Priory” stands a column to divide the guests into welcome and unwelcome. The many creditors would have to wait on the right, the women, mostly artists and poets and actresses, would be ushered in on the left to a room filled with incense burners and a helicopter blade hanging from the ceiling. The lucky ones would be brought to the music room, cocooned in dark tapestries. D’Annunzio had lost an eye in the war and was sensitive to light. Besides, music requires concentration of the mind. The floors are covered in carpets and pillows, for lounging or making love; busts of Michelangelo and Dante, his ‘brothers’, stand like witnesses. Books and music folios line the walls, surrounding life masks, sculptures, lamps of blown glass fruit, leaded windows, an organ, lyres, lutes, bells. The predominant tones are red, gold, and black. From the music room we proceed to a writing room, with a large desk, where D’Annunzio died, and a medicine cabinet filled with drugs. Over the doorway from the writing room to the bedroom, we read: genio et voluptati —genius and voluptuousness. The bedroom is called The Room of Leda and overflows with chinoiserie and silken fabrics and cushions. But genius is not all pleasure and happiness. Consider the Leper Room, for meditation on the death of his mother and Eleanore Duse, which features a bed in the shape of both a cradle and a coffin, “the bed of two ages”. Two leopard skins are draped over the steps leading down from the bed. A painting of Saint Francis embracing the leper hangs near the bed. We are to understand that D’Annunzio considers himself a leper in the eyes of society, in exile here after his failed attempt to raise life to its rightful gloriousness despite the philistine, luke-warm good behavior of his fellows. In his Italian Journey, written back when words like lofty, harmonize, exalt, true, and noble could be read without embarrassment, Goethe commented on the poor reception granted to a number of Palladio buildings:

How poorly these choice monuments to a lofty spirit harmonize with the life of the rest of mankind…it occurs to me that this after all is the way of the world. For one gets little thanks from people when one tries to exalt their inner urges, to give them a lofty concept of themselves, to make them feel the magnificence of a true, noble existence.

Alas, Goethe saw the tendency of things, already at the end of the 18th century. Though I wonder what he would have thought of D’Annunzio’s taste. The Relics room is a syncretic temple to all religions, mixing sacred objects with profane military paraphernalia. There are elephants, bronze Buddhas, medieval crosses, rows and rows of Catholic statuary, and a Fiume flag on the ceiling. Over the doorway is written: “Five Fingers, Five Sins”. Out of the original seven, D’Annunzio had excluded lust and greed. These two were not deadly sins, but virtues in his creed. A broken steering wheel on the altar, which once had belonged to an English racecar driver friend, symbolizes the religion of risk. His workshop, the only room in the house to let in natural light, can only be entered by prostrating oneself beneath a low ceiling and taking a few small steps. The writer had to humble himself before his muse, his great love, the actress, Eleanore Duse, whose bust sits upon his desk, covered with a silk scarf so her beauty would not distract him from his work. La Duse, as she was called, earned the full adulation that Il Duce was denied.

torino4-037Page from An Apology for Meaning, Artists’ book by Genese Grill

D’Annunzio called his house “the book of stones,” and like all good books it is filled with symbols. Everything means something. And the many mottos written on ceilings and round the rims of rooms and over doorways help us should we falter in our interpretation. And yet, I probably will be trying to understand it all for a long time to come. Certainly, although it would be simpler to outright reject grandeur and beauty, because of its sometimes questionable provenance, I cannot moralistically deny myself the intellectual and sensual pleasure it brings. And yet, the provenance and history of objects is significant and fraught with tangled skeins of so much seeming good with so much seeming bad. I will continue to be curious about all the life and the history that can be gleaned from material remains—portals to other worlds and times—and to embrace the wild contradictory nature of humanity with an amor fati—love of fate—communing, even if need be, in occasional discomfort, with all kinds of ghosts, neither assuaging nor simplistically censoring the transgressions of these haunted spirits.

What would D’Annunzio have thought, however, had he known that the souvenir shop outside the grounds would feature not only snow globes with little miniature Il Vittoriales and coffee mugs emblazoned with his face, but also a section devoted to his special friend and nemesis, Mussolini, offering brass knuckles and ominous riding crops for sale? Would he have approved? I would like to think he would he have considered it an impudent intrusion, actuated by purely capitalist vulgarity, a treacherous re-writing of his more nuanced story, rather like the posthumous revision of Nietzsche’s biography by his Wagnerite sister. (Elisabeth-Forster Nietzsche, as is well known, attempted to posthumously present her brother as a proto-Nazi, he, who in reality despised the Germans and who called in his last days for the death of all anti-Semites. The Mussolini display made me feel queasy, so I quickly exited the little shop and walked down the hill to beautiful Lake Garda, which Goethe, on his visit, had called “magnificent,” trying to separate the marvelous and admirable Italian writer from his unsavory companion. I caught the afternoon bus out of town, and made it back to Torino by late the same evening.

I spent my last week wandering around gazing at everything, saying goodbye with my eyes, entering dark churches on rainy afternoons and returning to museums I had already visited. I abandoned my foolish infatuation with the intern from Sardinia. It had been a case of pareidolia after all, or a matter of witchcraft. I visited Brunilde one more time, who had been angry at me after the last lunch for refusing dessert, a strawberry delicacy which the blackboard claimed was “the cake of love.” Probably she had cursed me, and my refusal to eat the cake was the cause of my romantic failure. This time I was all alone with her in the little restaurant. We talked despite my faulty Italian and her non-existent English, and she even gave me the name of another restaurant, scribbling it on a little piece of paper, which I did not lose and used the following day. I knew better now: I would do whatever she said and eat whatever she suggested. Lunch was orecchietti with spinach pesto and a mouth-watering cutlet swamped in delicious artichoke sauce, a glass of red wine, sparkling water, and for dessert a divinely magical zabaione with roasted almonds, an espresso, the traditional shot glass of absinthe-soaked grapes, and something extra this time, to mark my initiation: a little jar of sugar cubes soaked in liquor and spices, which I did not know really how to eat or drink. She became frustrated with me and took it away, “Only the sugar, only the sugar;” but she had accepted me, just the same, this woman whose gruffness was a legend, but whose favor I had longed for. I was sure she was a witch, and that she could help me or hurt me. After the espresso, I paid the bill, but was short some 60 cents. She waved me away; it was a mere trifle between such good friends. I wished her a beautiful life, una vita bella, and Brunilde the fierce blew me a kiss! I was blessed.

torino4-030Page from An Apology for Meaning, Artists’ book by Genese Grill.

On the way to the airport, the Alps, covered in snow, were visible behind the utilitarian architecture at the edge of the city. All along the street, shutters opened and green curtains were extended from inside to out and draped over the little balconies. From a tall building, a white sheet, like a small cloud, was shaken out in the fresh morning air in the wind and sun. Church spires rose up, shopkeepers brought out boxes of fruit for display, and old men in gray caps trundled along the sidewalk, newspapers tucked in the pockets of their old tweed jackets, ready to be unfurled along with the far-off world at the nearest caffè. The time had come to leave, and the following were my last words with which I armed myself for a return to the American landscape of ironic nihilism, that nihilism born in part of a fear of the complexity inherent in material objects and in the often painful distance between dreams and reality which they reveal:

Whosoever today does not respond, does not resonate to the stirrings of beauty and the energetic life force of the world as it is, who is not filled with wonder at its teeming multifarious richness, who mocks those in the past who have made objects and symphonies and wrote poems to celebrate the intricate, elaborate, strange, cruel, and tender rhythms of life, must be dead of spirit. In the Palazzo Madama museum, after bathing in sunlight streaming into a room of baroque golden splendor from a grand window, I entered the tiny tower housing a collection of small treasures, and any lingering doubts about meaning were immediately purged from me. I knew that the doubters were blind, deaf, and dumb. These intricate treasures were immediate palpable evidence of the perennial human need to celebrate the real delights and dangers of nature and civilization. Carved ivories, etched gems, blown glass, cast bronze. Fancy— made out of the real substance of the physical world, its colors and textures and qualities. I was thus armed to do battle against the skeptical intellectuals and their social construction blasphemy. I knew: Whosoever does not love Nature and the artifacts of humankind’s love of matter (colors, curves, sounds, textures, words, flavors, rhythms, light, light, light!) may as well be dead. Such a one is bereft of heat, of senses, of love, of lust, is a lizard of theoretical idiocy; just as much a repressor of the instincts and the body and nature as any inquisition or poison-spider priest. Philistine sophisticates, parading as the new intellectuals and new anti-artists, may you chortle on the dust of your own dreary scoffing. We others, we naïve ones, have been filled with wonder by the beauty of the world.

—Genese Grill

.grill-genese-grill-with-artists-books-cropped

Genese Grill is a writer, translator, and book artist, living in Burlington, Vermont. She is the author of The World as Metaphor in Robert Musil’s The Man without Qualities (Camden House, 2012) and the translator of Robert Musil’s Thought Flights (Contra Mundum Press, 2015). She has just finished a collection of essays entitled Portals: Reflections on the Spirit in Matter, which is looking for a nice publishing house in which it might live. Essays from the collection have appeared in Numéro Cinq, The Georgia Review, and The Missouri Review, and one of them won the 2016 Jeffrey E. Smith Editor’s Prize for Nonfiction. She is proud to be on the masthead of Numéro Cinq as special correspondent.

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Oct 132016
 

stridentopolis-by-ramon-alva-de-la-canal
Stridentopolis, by Ramón Alva de la Canal

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IN ROBERTO BOLAÑO’S The Savage Detectives, the characters Arturo Belano and Ulises Lima head north from Mexico City to Sonora in search of Cesárea Tinajero, a forgotten poet from the 1920s. Loosely associated with the post-revolutionary avant-garde movement known as Stridentism, Tinajero had since become a cult figure for the Visceral Realist group led by the book’s young heroes, who are eager to track down any information they can find on her. Anyone who’s read The Savage Detectives, however, knows that their quest is a distraction—one of the characters even says he believes Belano and Lima invented Cesárea Tinajero to justify their trip to Sonora. It’s perhaps fitting, however, that the Stridentists are largely known for their role as a MacGuffin in a novel written some 70 years after the movement’s demise—in real life, as in the world of the novel, they’re primarily conspicuous by their absence.

Though we’re approaching the centennial of the Stridentist movement, there are few signs that they ever existed. Only a fraction of their texts are available from Mexico City’s main public library, and while Zurich’s Cabaret Voltaire has gone on hosting poetry readings and art exhibitions to this day, its counterpart in Mexico City—Café Europa, once located in Mexico City’s gentrifying Roma Norte neighborhood—is now a hipster bakery. Mexico’s cultural historians have either ignored the Stridentists—Octavio Paz didn’t think to even mention the movement in the chapter of The Labyrinth of Solitude on the post-revolutionary intelligentsia—or they’re brought up simply to be dismissed as a cheap knockoff of the Futurists.

In their heyday, however, the Stridentists were admired across the Americas: their work was praised by a young Jorge Luis Borges and John Dos Passos translated Manuel Maples Arce’s poem Urbe into English in 1929, while the future Nobel laureate Miguel Ángel Asturias led the (potentially fictitious) Guatemalan chapter of the movement. They also had a considerable impact at home, with one contemporary work of criticism comparing Urbe and Arqueles Vela’s short story La Señorita Etc. with Diego Rivera’s murals at Texcoco’s Chapingo Autonomous University, arguing that these three works marked a revolution in Mexican aesthetics—but while the work of Diego Rivera is rightly lionized today, Maples Arce and Vela have largely been forgotten. It’s no wonder that the Stridentists obsessed Roberto Bolaño—researching them, even in the Internet age, is an equally frustrating and rewarding experience, involving a great deal of time in the National Library’s Rare Book Room.

So who were they?

First we should set the scene. By the end of 1921, the armed phase of the Mexican Revolution had definitively ended. Emiliano Zapata had been assassinated; Pancho Villa, though retired and living on a ranch with his last remaining followers, would soon suffer the same fate. The first two revolutionary presidents, Francisco Madero and Venustiano Carranza, had also been killed, the first during a counterrevolutionary coup d’état and the second by a rival group of revolutionaries. Power passed into the hands of a one-armed revolutionary general named Álvaro Obregón, under whose rule Mexico would begin to recover from the ten years of civil war that had left one million dead.

In the view of a young poet named Manuel Maples Arce, however, there was something hollow about this brave new age. “No spiritual agitation accompanied these outward convulsions,” he would later write. “In Russia, the Suprematist poets and painters painfully affirmed the restlessness of the Bolshevik moment. The November Group did the same thing in Germany. But Mexico’s intellectuals remained apathetic. Abroad, they continued to judge us for our endless exportation of literary trifles, sentimental junk and execrable odes sold at laughable prices to publications destined solely for the archives. But the post-revolutionary restlessness, with its proletarian eruptions and tumultuous protests, stimulated our inner agitation. We too could revolt. We too could rebel.”

stridentist-manifesto

A strange manifesto then appeared on the streets of Mexico City, posted between advertisements for plays and bullfights. Opening with a declaration of war on Mexico’s national heroes (Death to Father Hidalgo!) and the Catholic religion (Down with the Archangel Raphael, Down with Lazarus!) and freely quoting F.T. Marinetti (“An automobile in movement is more beautiful than the Victory of Samothrace”), Maples Arce’s manifesto rejected the Symbolist-influenced poetry then popular in Latin America in favor of an art that would embrace the new: “It’s necessary to exalt, in all the strident tones of our propagandistic pipe organ, the contemporary beauty of machines…the industrial system of great throbbing cities, the blue shirts of explosive workers in this electrifying and poignant time: all the beauty of this century.” Despite the undeniably strong influence of Futurism, Maples Arce distanced himself from that movement’s forward-looking focus: “Nothing of retrospection. Nothing of futurism. The entire world, at rest, marvelously illuminated in the stupendous climax of the present minute…always the same and always being renewed. We shall have presentism.” The manifesto concluded with an index of European and Latin American avant-garde figures from a wide variety of schools; here Jorge Luis Borges appeared alongside Jean Cocteau and Diego Rivera alongside Max Ernst. Other names are more obscure. Like the infamous list of experimental musicians included with Nurse with Wound’s debut album, the manifesto utilized the catalog of influences as a statement of purpose.

Using the manifesto and his first book of poems, Interior Scaffold—which Borges praised “for its torrent of images and the mastery of its form”—as a calling card, Maples Arce attracted a small circle of writers that shared his desire to revolutionize Mexican literature. The first to declare his allegiance to Stridentism was Arqueles Vela, a columnist for the Mexico City weekly El Universal Ilustrado, who was soon followed by the Puebla-based poets Germán List Arzubide and Salvador Gallardo—as well as by Kyn Taniya, the son of Mexico’s ambassador to France, who had already established himself as a poet in Paris, rubbing shoulders with Apollonaire and Romain Rolland. They would be joined by a group of visual artists that included Tina Modotti, Edward Weston, Fermín Revueltas, Germán Cueto, Ramón Alva de la Canal and Leopoldo Méndez. Together they launched a short-lived magazine, called Irradiador, which published their work alongside that of their counterparts in Spain’s Ultraist movement.

exterior-scaffolding-by-fermin-revueltas
Exterior Scaffolding, by Fermín Revueltas

Much of their early work was given over to a celebration of the new marvels of the 20th Century (airplanes, radio, jazz, urbanism), capturing Mexico’s post-revolutionary optimism despite themselves. When the country’s first radio station was launched in May 1923, the inaugural broadcast featured the reading of a poem by Maples Arce that celebrated the new technology. Their critics lambasted their embrace of modernity as being derivative of Futurism, but this weakness was in many ways also a strength: while European avant-garde figures such as Marinetti and André Breton spent much of their time exploring the respective meanings of Futurism and Surrealism, leaving behind a large store of theoretical writings, the Stridentists simply wrote. With their disdain for theory and dogma, the Stridentists were able to avoid the cardinal sin of high modernism: difficulty. It’s hard to get through Ezra Pound, for example, without outside guidance, but the work of the Stridentists is much more immediate—Arqueles Vela wrote that Stridentism was a “sincere poetry, one that doesn’t organize emotions, which are always disorganized.” As they sought to capture the new sensations of their time without submitting them to an intellectual scheme that would require extensive interpretation on the part of the reader, their work was often playful and highly accessible, as can be seen in the following poem by Kyn Taniya:[1]

THE LAST BREATHS OF PIGS SLAUGHTERED IN CHICAGO ILLINOIS THE SOUND OF THE NIAGARA ON THE CANADIAN BORDER KREISLER RIZLER D’ANNUNZIO FRANCE ETC. AND THE JAZZ BANDS OF VIRGINIA AND TENNESSEE THE ERUPTION OF POPOCATEPETL OVER THE VALLEY OF AMECAMECA LIKE THE ENGLISH BATTLESHIPS SAILING INTO THE DARDANELLES THE NOCTURNAL GROANS OF THE SPHINX LLOYD GEORGE WILSON AND LENIN THE BELLOWING OF THE PLEISIOSAUR DIPLODOCUS THAT BATHES EACH AFTERNOON IN THE PESTILENT MARSHES OF PATAGONIA GANDHI’S PLEAS IN BAGHDAD THE CACOPHONY OF THE BATTLEFIELD OR THE BRIGHT SANDS OF SEVILLE TIRED OF THE BLOOD AND GUTS OF BEASTS AND MEN BABE RUTH JACK DEMPSEY AND THE CRIES OF THE BRAVE SOCCER PLAYERS WHO KICK EACH OTHER TO DEATH FOR THE BALL

All this for no more than a dollar that’s
right just one hundred cents gets you
electric ears to catch the sounds that sway
in the kilometric hammock of radio waves

………………………………………… EO EEEOOO EO…

The Stridentists spent their days at Mexico City’s Café Europa, which was so desolate that they dubbed it El Café de Nadie—Nobody’s Café. “Nobody cares for it or administers it,” Vela said. “No waiters bother the customers, nor does anybody serve them anything… We are the café’s only customers, the only ones who don’t pervert its spirit.” Vela mythologized the café in his short story El Café de Nadie, which centers on two men—evocations of Maples Arce and Vela himself—who haunt the back tables, watching as a woman named Mabelina takes on a series of different personalities to please her rotating cast of lovers. By the end, she’s left writing her name on the café’s tables to remind herself of her identity. Here the engagement with modernity is much more ambiguous than with the Futurists, to whom they were so often compared: if the anonymity of urban life is liberating, allowing us to reinvent ourselves as we please, the danger is that this very anonymity will remake us in its image.

el-cafe-de-nadie-ramon-alva-de-la-canal
El Cafe de Nadie, by Ramón Alva de la Canal

The Stridentists would take full advantage of the café’s solitude. There they held poetry readings and concerts of “Stridentist music” by Silvestre Revueltas, exhibiting masks by Germán Cueto, photographs by Tina Modotti and Edward Weston, and paintings and engravings by Fermín Revueltas, Ramón Alva de la Canal and Leopoldo Méndez, all hung between advertisements for Moctezuma beer and Buen Tono cigarettes.

It was at one of these exhibitions that Maples Arce debuted Urbe, one of the key texts of Stridentism and the poem that marked the movement’s political turn. The inspiration for Urbe came one May Day, when Maples Arce had to return home on foot as the city’s trolleys had been paralyzed by the day’s strike. As he walked through the city’s streets, he mingled with the proletarian demonstrators and reflected on Mexico’s still shaky political situation: “The dissent of the unions, the political agitations and the threats of civil war loomed over us,” he would later write. “In the Chamber of Deputies, speeches were suddenly interrupted by the thunder of pistols. Those who stood in the way of progress encouraged groups of politicians and military officers to try and seize power while the workers demonstrated their state of alert. I observed these spectacles, reflecting on the circumstances and responsibilities of those men who could influence the nation’s destiny. Under these stimulating influences, when I got home I started writing a canto that trembled with hope and desperation. I saw the clear need to give the revolution an aesthetic agenda, and in Urbe I joined my intimate emotions with the clamor of the people.” It’s easy to see what attracted Dos Passos to this poem and led him to befriend its author during his 1927 trip to Mexico. Like Manhattan Transfer, published the same year, Urbe is both a celebration of urban modernity and a longing to redeem its sins through leftist politics:

Here is my poem,
brutal
and multiple,
to the New City.

……………………….Oh city all tense
……………………….with cables and labor,
……………………….the sound
……………………….of motors and wings.
……………………….The simultaneous explosion
……………………….of new theories,
……………………….further off.
On the higher plane
……………………….of Whitman and of Turner
……………………….and, a little nearer by,
……………………….of Maples Arce.

The lungs of Russia
are blowing towards us
the wind of social revolution.
The literary pantysniffers
won’t understand
this new beauty
born in the century’s sweat,
……………………….and the ripe moons
……………………….that fell, rotting
……………………….are the stench
…………………….that rises
……………………….from the intellectual sewers.

If Urbe was the first sign that the Stridentists had become tired of shocking the bourgeoisie and longed to overthrow them instead, they would get their opportunity in 1925, when General Heriberto Jara became governor of Veracruz. Jara, a former anarchist, had joined the Constitutionalist Army during the Mexican Revolution but maintained his ties to the labor movement. As governor, he promoted the growth of unions, expanded and modernized the state’s infrastructure, and fought the power of the British and American oil companies that treated Mexico’s oil-rich Gulf Coast as their personal property.

Shortly after Jara’s inauguration, Maples Arce, armed with a letter of introduction, traveled to Xalapa and convinced Jara to make him his right-hand man. List Arzubide soon joined him, as did Ramón Alva de la Canal and Leopoldo Méndez. There they edited a new magazine—Horizonte—which, in the place of the avant-garde texts and theoretical articles of Irradiador, ran translations of Tolstoy, H.G. Wells and Rudolf Rocker beside articles on the initiatives of Jara’s government and the political issues of the day. Their new publishing company, Ediciones Horizonte, printed cheap editions of the classics alongside their latest poems, as well as the first mass-market edition of The Underdogs, Mariano Azuela’s classic novel of the revolution. During this time, List Arzubide wrote Zapata: Exaltation, the first book celebrating the now-legendary insurgent leader, who was then seen as little more than a glorified bandit. The Stridentists also involved themselves in the founding of the state university and Xalapa’s proto-brutalist athletic stadium. Thanks to the patronage of Governor Jara, they were able to go beyond eulogizing modernity through poetry to working directly to modernize Mexico: they would turn a sleepy provincial capital into Stridentopolis. “Stridentopolis consummated the truth of Stridentism,” wrote List Arzubide. “An absurd city, disconnected from everyday reality, it corrected the straight lines of monotony by developing the landscape.”

horizonte-cover

This utopian project was not to endure, however. In 1927, Mexico’s post-revolutionary government was facing its worst crisis in ten years. It was fighting on several different fronts—against foreign oil companies, against large landowners and against the Catholic Church, which had been chafing under the restrictions of the 1917 Constitution (article 130 of which placed restrictions on its political rights). Though this last conflict had been festering ever since the constitution was promulgated, the situation worsened in June 1926 when President Plutarco Elías Calles demanded the full application of Article 130. In response, Mexico’s Catholics launched a guerrilla uprising on January 1st, 1927. President Calles needed the support of the United States government in order to win the war, and so Jara—who had been seizing the assets of British and American oil companies that owed taxes—had to be forced from power.

Jara’s fall triggered the disintegration of the Stridentists as a group. The movement’s internal cohesion had already been strained by the move to Xalapa, as not everyone heeded Maples Arce’s call—Arqueles Vela had instead gone to Spain as a correspondent for El Universal Ilustrado, while Kyn Taniya was made Mexico’s ambassador to Guatemala, where he and Miguel Ángel Asturias proclaimed the formation of the Guatemalan chapter of the Stridentist movement, of which no other trace seems to have survived. Salvador Gallardo, in the words of List Arzubide, simply “went out into the provinces and the provinces swallowed him up.” Both Maples Arce and List Arzubide, meanwhile, were encouraged by their experiences working with Heriberto Jara to focus on politics full-time. Maples Arce grew disgusted with Mexico’s political climate after only one term as a federal deputy, however, and left for a short period of self-imposed exile in Paris before reconciling himself with the post-revolutionary state in the mid-1930s. List Arzubide would remain an outsider. He joined the Communist Party and on one occasion narrowly escaped deportation to the infamous Islas Marías prison colony alongside Fermín Revueltas’ younger brother José, who would later write a celebrated novel about his imprisonment. On another, Sandino—then in Mexico to collect money and weapons for his insurgent army—gave him an American flag that his men had captured from the U.S. Marines and emblazoned with the words “This flag was captured from the imperialist Yankee forces. Fatherland or Death. Cesar Augusto Sandino.” When the U.S. Embassy heard that the flag was in Mexico, they demanded that it be returned to them. List Arzubide then smuggled the flag out of the country, traveling first to New York, where he hung it from the balcony of a friend’s apartment, before taking it to the World Anti-Imperialist Congress in Frankfurt.

xalapa-athletic-stadiumXalapa athletic stadium

In the year following Jara’s downfall, Álvaro Obregón was assassinated by a Catholic extremist and the subsequent crackdown on dissidents began Mexico’s slow drift towards a sui generis totalitarianism. This coincided with a period of silence on the part of nearly all the movement’s writers, a period that gave their rivals the opportunity to write them out of Mexico’s literary history. Yet this fate is what allows us to come to their work fresh today—the fact that the movement fell apart when a popular revolutionary was constitutionally but undemocratically removed from power even gives them a certain aura of martyrdom. If it’s now impossible to think of Marinetti without recalling his association with Mussolini, and if Mayakovsky died a “second death”—as Pasternak put it—when he was eulogized by Stalin and taught to Russian schoolchildren, Maples Arce and his comrades still remain untainted. This was undoubtedly partly what attracted Bolaño to the movement, especially at a time when the old rivals of the Stridentists were cheering on the bloody repression of the 1968 student movement, an event that forms the political background to The Savage Detectives.

In a sense, the Stridentists’ ephemerality is a testament to their success: neither looking forward nor back, they sought to capture a given moment in time, and they succeeded. In the first Stridentist manifesto, Maples Arce quoted Walter Conrad Arensberg’s assertion that a true poem shouldn’t live for more than six hours; Stridentism lasted for six years and then disappeared. “As good revolutionaries, we knew that every revolution that isn’t crushed at the right time will become reactionary when it crystalizes and is forced to uphold what it had fought in the immediate past,” List Arzubide reflected after the movement’s end. “We were the only revolutionaries who were willing to sacrifice our struggle for lack of heirs. And now that the movement has been liquidated, we hand our work over to the historians because from here on out we hope to avoid the discussions of the academics from the year 2941 who will measure, weigh, clean and polish what was born precisely, lived completely and died without an echo.” There is no better epitaph.

— Joshua Neuhouser

SUGGESTED READING LIST:

Panchito Chapopote by Xavier Icaza
El Movimiento Estridentista by Germán List Arzubide
Poemas Estridentistas by Germán List Arzubide
Las Semillas del Tiempo by Manuel Maples Arce
El Café de Nadie by Arqueles Vela

Secondary works:

Shadows, Fire, Snow: The Life of Tina Modotti by Patricia Albers
Elevación y Caída del Estridentismo by Evodio Escalante

Mexican Modernity: The Avant-Garde and the Technological Revolution by Rubén Gallo
El Ruido de las Nueces: List Arzubide y el Estridentismo Mexicano by Francisco Javier Mora
El Estridentismo o Una Literatura de Estrategia by Luis Mario Schneider

[1] All poems translated by Grant Cogswell

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neuhouser

Born in Indiana and raised in Seattle, Joshua Neuhouser has lived in Mexico City since 2010, where he works as a freelance translator. His projects have included Rebellion in Patagonia by Osvaldo Bayer (co-translation with Paul Sharkey, AK Press 2016) and The Iguala 43: The Truth and Challenge of Mexico’s Disappeared Students by Sergio González Rodríguez (Semiotexte, forthcoming). He is currently at work compiling an anthology of the Stridentist writers.

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Aug 102016
 

Ben Lerner is seen in Brooklyn, New York on Monday September 14, 2015. Adam Lerner / AP Images for Home Front Communications

“The fatal problem with poetry: poems.” — Ben Lerner

lernerbookshot

The Hatred of Poetry
Ben Lerner
Farrar, Strauss, and Giroux, 2016.
Paperback, 86 pages, $12.

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Ben Lerner’s monograph, The Hatred of Poetry, is an extended meditation on the nature of poetry (or, Poetry) and its relationship to the reader. Lerner first broached this topic in his 4000-word essay for the London Review of Books in 2015, in which he concludes, “You can only compose poems that, when read with perfect contempt, clear a place for the genuine Poem that never appears.”  While much of The Hatred of Poetry is derived from thoughts shared in this essay, the revised version is subtler, cannier, and ultimately claims, if only in passing, “a place for the genuine.”

The essay can be read as a tribute to Lerner’s teacher, Allen Grossman, the late poet and critic, and Grossman’s influence on this writing is found everywhere. Only a few pages in, Lerner recollects Grossman’s retelling of the story of 1st century Caedmon, the earliest known Anglo-Saxon poet. The illiterate cowherd was, according to the account rendered by the Venerable Bede, transformed through a dream into a poet; the poem with which he awoke, however, was never as good as the one in his dream, “for songs, be they never so well made, cannot be turned of one tongue into another, word for word, without loss to their grace and worthiness.” From Bede’s rendition of Caedmon’s dream comes Grossman’s characterization of the poem as “necessarily a mere echo” of the truer poem, the “virtual poem” existing just out of reach for the poet. “In a dream your verses can defeat time,” Lerner writes, “your words can shake off the history of their usage, you can represent what can’t be represented (e.g., the creation of representation itself), but when you wake, when you rejoin your friends around the fire, you’re back in the human world with its inflexible laws and logic.”

From this apocryphal beginning, Lerner deftly sketches a characterization of poetry as a long-beleaguered medium, wearily defended and just as wearily attacked for millennia. Lerner himself, of course, is a poet, author of three volumes of verse. His first collection, The Lichtenberg Figures, won the Hayden Carruth Prize; his second, Angle of Yaw, was a finalist for the National Book Award. His two novels, both of which feature self-reflexive narrators (the first, Leaving Atocha Station, is told by a successful poet [Adam] abroad on Fellowship money; his second novel, 10:04, is told by Ben, a poet in the wake of a surprisingly successful first novel) have been widely acclaimed. Born in 1979 in Topeka, Kansas, Lerner has already been awarded a Guggenheim and a MacArthur Fellowship. He has every logical reason in the world to rest comfortably, yet his work brims with self-abnegation, a “self-subverting whisper” which persistently threatens to spill over into self-pity, but never actually does.

The Hatred of Poetry may be Lerner’s answer to his own unspoken questions. Of poetry – “I, too, dislike it,“ he asserts in the well-known words of Marianne Moore –Lerner writes, “Sometimes this refrain (which Lerner has made of Moore’s words) has the feel of negative rumination and sometimes a kind of manic, mantric affirmation, as close as I get to unceasing prayer.”

The rest of Moore’s poem, quoted on Lerner’s opening page, reads, in its entirety: “Reading it, however, with a perfect/contempt for it, one discovers in/it, after all, a place for the genuine.” In order to reserve such a place, however, a great deal must be cleared away. In Lerner’s telling – harking back to Grossman’s “virtual poem” – poetry itself is used as a means to provoke negative capability, poetry meaning poetry showing what poetry is not, i.e., words on the page. Whether dissecting the doggerel of William Topaz McGonagall or Emily Dickenson’s broken lines (“a mixture of virtuosity and willed dissonance”), Lerner suggests that poetry makes “a place for the genuine by producing a negative image of the ideal Poem we cannot write in time.”

That negative image of the ideal Poem (that poem that “we cannot write”) is reinforced through poetry critique. From Plato’s provocative (to contemporary readers) banishment of the poet as citizen of the ideal city, through, for example, Mark Edmundson (“The Decline of American Verse) and George Packer (“Presidential Poetry”) who bemoan the current state of poetry as being mired in the particular to the expense of the universal, Lerner’s point is that prose written about poetry upholds the place that poetry provides for the “glimmer of the virtual.” In other words, the “defense itself becomes a kind of virtual poetry – it allows you to describe the virtues of poetry without having to write poems that have succumbed to the bitterness of the actual.”

Lerner closes with a relatively extended meditation upon the virgule, signifying the slash, the virgula or “little twig” used to indicate line breaks when quoting poetry in the context of prose. He observes that Claudia Rankine, in the pre-publication galleys of Citizen: An American Lyric, used the virgule “where it could be read as a typographical representation of verse’s felt unavailability.” In the final copy, however, these virgules were gone, leaving only what Lerner calls “a kind of restraint, verging on flatness, exhaustion, dissociation” behind. Rankine’s Citizen, is named lyric where otherwise that quality would not be likely assumed: the poem is, after all, comprised almost entirely of prose. “What I encounter in Rankine,” he writes, “is the felt unavailability of traditional lyric categories; the instruction to read her writing as poetry — and especially as lyric poetry — catalyzes an experience of their loss, like a sensation in a phantom limb.”

The seeming divide between poetry and prose is a border that Lerner has blurred before: in his first novel, the narrator (a poet) writes, “I tended to find lines of poetry beautiful only when I encountered them quoted in prose (…) where the line breaks were replaced with slashes, so that what was communicated was less a particular poem than the echo of poetic possibility.” He quotes this passage twice in the pages of The Hatred of Poetry, before making a final – and, yes, lyrical – segue towards the essay’s coda. The virgule, he writes,

can be heard in Virgula Divina, the divining rod that locates water or other precious substances underground…(It can be heard) in the name of Virgil. Dante’s guide through Hell. And in the meteorological phenomenon known as “virga”… streaks of water or ice particles trailing from a cloud that evaporate before they reach the ground. It’s a rainfall that never quite closes the gap between heaven and earth, between the dream and fire; it’s a mark for verse that is not yet, or no longer, or not merely actual; they are phenomena whose failure to become or remain fully real allows them to figure something beyond the phenomenal.

Throughout the book, references to Grossman are made, off-stage as it were, including Lerner’s telephoned conversation with poet/critic Aaron Kunin (“also a student, not coincidentally, of Grossman’s”), or recognitions of Grossman’s influence on this or that observation. Then, abruptly, a few pages from the book’s close, Lerner writes: “Today, June 27, 2014, Allen Grossman died.”

In Frank O’Hara’s “Personism: A Manifesto,” the poet writes:

(O)ne of its (personism’s) minimal aspects is to address itself to one person (other than the poet himself), thus evoking overtones of love without destroying love’s life-giving vulgarity, and sustaining the poet’s feelings towards the poem while preventing love from distracting him into feeling about the person. That’s part of personism. It was founded by me after lunch with LeRoi Jones on August 27, 1959, a day in which I was in love with someone (not Roi, by the way, a blond). I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It’s a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified. The poem is at last between two persons instead of two pages.

O’Hara’s manifesto is typically read as mocking; Lucky Pierre is a slang term for the middle person in a 3-person sexual encounter. Of course Lerner, with his love for ambivalence, would produce a manifesto of his own, one placed “squarely between the poet and the person.” But which is which? Who is the person, and the poet – is it Lerner? or is it his teacher, Grossman? Who, of course, can no longer be reached by phone.

Not to put too fine a point on it, but I would suggest that perhaps The Hatred of Poetry could be read as a poem “between two persons instead of two pages.” Lerner writes that poetry is, “where relations between people must appear as things.” Its final pages certainly merit such a reading, as it. By the second to the last paragraph, Lerner can assert that poetry “is on the one hand a mundane experience and on the other an experience of the structure behind the mundane, patches of unprimed canvas peeking through the real.” We might not have initially considered the comparison, but Lerner introduces it: “why not speak of it — fucking and getting fucked up was part of it, is, the way sex and substances can liquefy the particulars of perception into an experience of form. The way a person’s stutter can be liquefied by song.” Like sex, like speech itself, poetry is forever seeking purchase in the real, yet exists only in “the glimmer of virtual possibility.”

One of the aspects of Lerner’s writing that I find most compelling is the way he distrusts his own facility with language, his self-conscious working against a fluency that he cannot seem to dismantle (as he writes, in Mean Free Path: “I was tired of my voice, how it stressed / its quality as object with transparent darks / This is a recording.”) If, as he writes, the “closest we can come to hearing the ‘planet-like music of poetry’ is to hear the ugliest earthly music and experience the distance between them,” then the acknowledgment of that distance is itself the truest kind of faith. In The Hatred of Poetry, we find, I think, the truest kind of love.

— Carolyn Ogburn

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Ogburn

Carolyn Ogburn lives in the mountains of Western North Carolina where she takes on a variety of worldly topics from the quiet comfort of her porch. She’s a contributing writer for Numero Cinq and blogs for Ploughshares. She’s studied at Oberlin (B.Music), UNC-Asheville (MLA) and Vermont College of Fine Arts (MFA). She writes on literature, autism, music, and disability rights and is at work on her first novel.

 

 

Apr 122015
 

Last Judgement by Jan van Eyck


“Consider a little, if you please, unmerciful Doctor, what a theater of Providence this is: by far the greatest part of the human race burning in flames forever and ever. Oh what a spectacle on the stage, worthy of an audience of God and angels! And then to delight the ear, while this unhappy crowd fills heaven and earth with wailing and howling, you have a truly divine harmony.” 
Thomas Burnet, De Statu Mortuorum Et Resurgentium Tractatus, (On the State of the Dead and the Resurrection) posthumously pub. 1720

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George Coyne, S. J., former Director of the Vatican Observatory and currently McDevitt Chair at Le Moyne College in Syracuse, recently repeated to me in conversation a question posed to him by the late Carl Sagan, of Cornell and Cosmos fame. Sagan’s more-than-rhetorical question, as fellow astronomer and seeker, was a compelling one: “Why should you be given the gift of faith, and not me?” Coyne acknowledged that he had no full answer, though he surmised that his reception of the gift of faith had much to do with his own actions, specifically his having read Augustine and Aquinas.

So have I, but, alas, that reading gradually but permanently shook rather than bolstered my faith. Listening to Fr. Coyne’s report of his response to Sagan, I recalled being disturbed, as a student at Fordham University, by the insistence of Augustine that since humanity is stained with a primal sin, we are utterly dependent on God’s grace, a position that seemed to severely limit human freedom. As Peter Brown notes in his magisterial biography, Augustine of Hippo (1967, updated in 2000), the idea of an ancient transgression as an explanation for present misery was current in both pagan and Christian thought. And Augustine was, of course, steeped in Paul, especially the Epistle to the Romans, and haunted by Paul’s Adamic argument that “sin came into the world through one man and death through sin, and so death spread to all men because all men sinned” (Rom 5:12-13). This is a succinct statement of what would become known as Original Sin, a doctrine we associate in particular with Augustine, who, I couldn’t help feeling, spun it, whatever its pagan and Pauline antecedents, primarily out of his own entrails. Convinced that only divine grace could curb a libidinal drive he often felt personally powerless to control, Augustine, on the basis of his own sexual psychology, extrapolated a universal doctrine of primal sin, inherited guilt, and absolute dependence on the grace of God.

Augustine -Jaume_Huguet_Consecration_of_Saint_AugustineConsecration of Saint Augustine by Jaume Huguet

The result was a biographical-theological mélange that minimized, without utterly excluding, the role of individual free will. Even when he gestures toward free will, the pessimistic Augustine emphasizes the wrong choice, that of the lower rather than the higher. In a notably Neoplatonic passage in Book 12 of The City of God, he observes that “when the will abandons what is above itself and turns to what is lower, it becomes evil, not because that to which it turns is evil, but because the turning itself is wicked.” That wicked turning, which began in Eden, reduces the whole of fallen humanity to what Augustine calls a sinful “lump” [massa]. The allusion is to Paul’s Potter-God molding a “lump” of clay (Rom 9:20-21), but Augustine goes beyond Paul, for whom the lump has no right to question its Maker, who chooses willy-nilly to produce “vessels” reflecting his “mercy,” or “vessels of wrath made for destruction” (Rom 9:22-23). Mere clay is not low enough for Augustine, for whom postlapsarian humanity is a collective “lump” of sinful and damnable filth—massa peccata, massa perditionis, massa damnata (Enchiridion, 98-107). In his treatise “On Grace and Free Will” (426-27), Augustine writes that while “God foreknows what we are going to will in the future, it does not thereby follow that we are not willing something freely” (255). But his emphasis is always less on human than divine will, with salvation a free and foreordained gift of God, given gratis and independent of a person’s individual merit. Reading the newly discovered letters Peter Brown printed in the 2000 update of his biography, I was less than fully persuaded by his claim that they substantiate Augustine’s place as the “inventor of the modern notion of the will.”

On Grace and Free WillSt. Augustine by Antonello da Messina

“Those who love [God] are called according to his purpose,” and “those whom he predestined he also called; and those whom he called he also justified; and those whom he justified he also glorified” (Rom 8:28-30). This passage from Romans clearly contributed to Augustine’s own version of predestination, which intensified in the later phases of his increasingly furious combat with Pelagius and his followers. When I first read Augustine’s anti-Pelagian tracts, I connected them with another obsessive and sustained assault I was studying at the same time in a Fordham history course: Edmund Burke’s protracted attempt (1788-95, the longest trial in British history) to convict the impeached Warren Hastings, Governor-General of India. In the end, though he was financially ruined, Hastings was not convicted: an acquittal, fumed Burke, who had stressed the “moral” dimension of Hastings’s alleged “corruption,” which redounded to “the perpetual infamy” of the House of Lords.

Augustine’s equally fervid confrontation was with the infamy of Pelagianism, embodied in Julian (380-455), the bishop of Eclanum, and the semi-Pelagian monk John Cassian, both of whom, in responding to Augustine, gave as good as they got. Like the British monk Pelagius and Julian, Cassian, an ardent disciple of Origin, emphasized human capability and responsibility in actively co-operating with God: a mixture of optimism and insistence on human agency that provoked the now elderly and crusty bishop of Hippo into angry responses, including his most extreme assertions of precisely what the Pelagians had accused him of: predestination. Or so I saw it; and though my Jesuit professors at Fordham suggested otherwise, I begged (mostly quietly) to differ. When, two years after I graduated, I read Gerald Bonner’s Saint Augustine of Hippo: Life and Controversies (1963, rev. 1986), I felt vindicated. Bonner admires Augustine and the best part of his book is his informed and balanced account of the Pelagian controversy (also discussed at length in Part IV of Peter Brown’s biography), which makes his conclusion, a mixture of admission and dismissal, all the more compelling: “Augustinian predestination is not the doctrine of the Church but only the opinion of a distinguished Catholic theologian” (592).

Bonner

Obsessed with the monstrous transgression of Adam and Eve, transmitted as Original Sin, and by his theology of grace, did late Augustine plunge into the heretical pitfall of strict predestination? Certainly his pessimistic view of fallen human nature, darkened by the contemptu mundi perspective he had inherited from the Neoplatonists and the Stoics and by his own idiosyncratic emphasis on the role of sexual reproduction in transmitting Original Sin, led Augustine to claim that our natural proclivity is toward evil and that all our impulses to good are dependent on God’s grace. What makes his position darker still is Augustine’s post-Pauline insistence that the decision on God’s part as to who receives this grace is, as the word itself suggests, gratis—gratuitous, arbitrary.

According to Augustine (and Aquinas after him), while God wills the salvation of all, certain souls are granted special grace that in effect foreordains their redemption. But “why one is called and the other not” has to do with the “inscrutability” of God. “Why God draws this one and not that other,” Augustine admonishes, “seek not to know or to judge.” And later in the treatise I am citing, in a chapter titled “The Difficulty of the Distinctions Made in the Choice of One and the Rejection of Another,” he concludes that we have no right to question God and that “he who is condemned has no ground for finding fault” (De dono perseverantiae, chapter 16). Augustine is alluding to those “called according to” God’s “purpose” in Rom 8:29-30, and to a passage he specifically cites: Paul’s rhetorical question, “who are you, a man, to answer back to God? Will what is molded say to its molder, ‘Why have you made me thus?’” (Rom 9:20).

Boethius.consolation.philosophyAn early printed version of Boethius’ The Consolation of Philosophy 

In short, Augustine restates rather than responds to the crucial question posed by Carl Sagan to Fr. Coyne: “Why have you been given the gift of faith, and not me?” Though, as with countless others over the past millennium and a half, I found help on this issue in the lucid prose and dialogue form of The Consolation of Philosophy by Boethius, as a sophomore in college, I was hardly equipped to unravel the paradoxical relationship between God’s foreknowledge and human free will. So “Seek not to know”: simply accept the idea that, by means of his mysterious “grace,” an all-foreseeing God—who made his decision before the oceans rolled, indeed before “time” itself— “predestined those he called” to eternal life, leaving others in their sin, but “justly” condemned as a result, paradoxically, of their own “choice.” Wherever one finally comes down on this simultaneously fascinating and repellent issue, Augustine more than flirted with the unspeakably horrible doctrine of predestination as it later culminated in Luther, an Augustinian monk after all, and, especially, Calvin, who claimed he could have written an entire book “out of Augustine alone” to justify his theology, a theology based on the adamant insistence that while “some,” the so-called Elect, are “predestined unto everlasting life,” all “others” are “preordained to everlasting death.” That is to say, hell—about which Augustine himself has much to say.

In The City of God, Augustine distinguished between the Last Judgment and a Particular Judgment (which he illustrates with the story, in Matt. 16:19-31, of poor Lazarus and Dives, the rich man who had turned the beggar from his door and now, dead and suffering in the flames of Hades, begs Lazarus for a drop of water.) There may be hope following the “first death” and the Particular Judgment, but after the “second death” and the Last Judgment, reward or punishment is irrevocable and eternal. Citing scripture, Augustine resisted those who argued, or at least hoped, that hell’s punishment, however fierce, would not be eternal. It would be both, he insisted—basing his position, as always, on the Original Sin in Eden:

Hell, also called a lake of fire and brimstone, will be material fire, and will torment the bodies of the damned, whether men or devils—the solid bodies of the one, and the aerial bodies of the others; [for] the evil spirits, even without bodies, will be so connected to the fires as to receive pain….One fire certainly shall be the lot of both…eternal punishment seems hard and unjust to human perceptions, because in the weakness of our mortal condition there is wanting that purest and highest wisdom by which it can be perceived how great a wickedness was committed by that first transgression. (The City of God, Books 10, 21)

Augustine, writing in 426, is more severe than Yahweh himself, who told the perpetrators of that “first transgression,” Adam and Eve, that they would “die” if they ate of the forbidden fruit, not that they were risking eternal torment in hell. To be as literal as the literalists, an eternity of pain cannot be the fate even of their son, the first murderer, since anyone who killed Cain would suffer punishment “seven times greater” than his own. In fact, from Genesis on, there is no clear reference in the Hebrew scriptures to a place of eternal punishment. Christian preachers often allude to, or actually cite, Old Testament passages. But while they habitually turn “Sheol” and the dark valley of “Gehenna” into figurative equivalents of “hell,” no Jewish translation of the Hebrew scriptures into English does so. The most “hellish” text—handled gingerly by Jewish scholars, but seized on with relish by Christian exegetes eager to prove the eternal punishment of the wicked—is the rhetorically magnificent but horrific climax of the Book of Isaiah. There the Lord says that he will make a “new heavens and new earth” for the faithful, who shall “go forth and look on the dead bodies of the men that have rebelled against me; for their worm shall not die, their fire shall not be quenched, and they shall be an abhorrence to all flesh” (66:23-24).

That final verse, the one Hebrew text on which a doctrine of eternal torment can be based, “is so gruesome,” John Sawyer notes in The Oxford Companion to the Bible (1993), “that in Jewish custom the preceding verses about ‘the new heavens and the new earth’ are repeated after it, to end the reading on a more hopeful and at the same time more characteristically Isaianic note” (327). Countless Christian theologians and preachers went in the decidedly un-hopeful other direction, harping on, and taking sadistic relish in, Isaiah’s imagery as proof of eternal punishment. As we’ll later see, in the unforgettable Hell-sermon at the center of A Portrait of the Artist as a Young Man, Joyce’s Fr. Arnall not only cites Isaiah’s worm and stench, but takes for granted that they are sensuous aspects of eternal anguish, climaxing in that “quenchless fire.” Yet it could be argued that even in his most “gruesome” image, Isaiah refers to rotting and noxious carcasses, “an abhorrence to all flesh,” not to the rebels’ continuing personality—nephesh, the soul or living being—which alone could be subject to eternal torment.

Augustine’s central ideas often had horrible consequences. In an early public debate “Against Fortunatus” (August, 392), he had declared, “There are two kinds of evil—sin and the penalty for sin” (Earlier Writings, ed. Burleigh [1950], 15). Since we are all allegedly stained from birth with Original Sin, what penalty is to be suffered by infants who die before being baptized? The Church, understandably, has long anguished over this issue—beginning as early as the 4th century, with the treatise on the early death of infants (De infantibus praemature abreptis libellum) by Gregory of Nyssa, an early believer in universal reconciliation. To my dismay, I soon discovered that the dilemma persisted long after Gregory’s attempt to humanely resolve it. A millennium later, the great Council of Trent (1545-65), famed for its lucid definitions, concluded, in its fifth session, that, “Infants, unless regenerated unto God through the grace of baptism, whether their parents be Christian or infidels, are born to eternal misery and perdition [perditionis aeternum].”

Council_of_Trent_by_Pasquale_CatiCouncil of Trent by Pasquale Cati

There have been many intellectual efforts, notably including the desperate if humane hypothesis of the now defunct Limbo (on which the theological doors closed in late 2005), to get the babies out of hell. But even the eminent thinkers subsequently gathered in the Vatican to form, in 2007, an International Theological Commission, though reading the “signs of the times,” could offer only a wistful “Hope”—to cite the final subtitle of the concluding section (“Spes Orans: Reasons for Hope”) of their lengthy and learned final document. Their inconclusive Conclusion was that, “there are strong theological and liturgical reasons to hope that infants who die without baptism may be saved and brought into eternal happiness, even if there is not an explicit teaching on this question found in Revelation.”

Such are the fruits of the toxic doctrine of Original Sin, as promulgated, above all, by Augustine, whose preeminence as a theological juggernaut eclipsed all rivals until the advent of Aquinas. For the formidable but bleak Bishop of Hippo, no one was exempt from punishment “unless delivered” by an inscrutable God’s “mercy” and by “grace,” which was “undeserved.” And those delivered will be a minority. Jesus himself distinguished between the narrow-gated road that will lead the “few” to salvation and the broad-gated road that will lead the “many” to destruction (Matt 7:13-14). An echoing Augustine, consigning the bulk of humanity to perdition, writes, “Many more are left under punishment than are delivered from it in order”—he adds, setting up damnation as a grim example even for those who made the cut through no merit of their own—“that it may be shown what was due to all” (City of God, Book 22). In short, because of Original Sin, we are all guilty, and deserving of hell. And when that stain has not been cleansed by the sanctifying grace of baptism, it follows, and Augustine unhesitatingly followed that appalling logic—even if the prospect of babies in hell is more hideous than the doctrine of predestination itself— that unbaptized infants must be damned: a singularly atrocious example of what “was due to all.”

The most gifted and persistent opponent of Augustine on infant perdition, indeed on Original Sin root and branch, was Julian of Eclanum, the most prominent second-generation follower of Pelagius. His writings have been preserved, primarily and ironically, by Augustine himself, who quoted freely from Julian’s attack on the doctrine of Original Sin in his own refutation, contra Julianum Pelagianum. In countering Augustine’s dark view of human nature and sexuality, Julian went to the other extreme, his optimism verging on perfectionism. He also set against Augustine’s emphasis on eternal punishment his own version of ultimate reconciliation: a theory of universal salvation (apocastasis) first fully worked out by Origen (c. 185-254), the most brilliant and radical student of Clement of Alexandria. Origen’s belief that through Christ’s sacrifice even Satan might be redeemed (restored by the refining fires to his original angelic state as Lucifer) led the Christian bishops gathered at the Synod of Constantinople in 543 to condemn anyone who said or thought that “there is a time limit to the torments of demons and ungodly persons,…or that they will ever be pardoned or made whole again.” The target was Origen, posthumously excommunicated at this Synod, and, for good measure, at subsequent synods in 553, 680, 787, and 869.

Keane5Nave of Church of the Gesù by Giovanni Battista Gaulli

Julian was himself excommunicated by Pope Celestine in 430, the year of Augustine’s death, for earlier refusing to sign on to Pope Zosimus’s excommunication of Pelagius. But despite the contemporary and historical triumph of his rival, Julian’s rejection of Augustine’s doctrine of Original Sin and his revulsion from the idea of unbaptized infants roasting in hellfire has always seemed to me a welcome alternative to the somber broodings of the Bishop of Hippo. In Book 6 of his contra Julianum Pelagianum, responding to the final Book of Julian’s treatise, Augustine had reasserted his position that, because of collective guilt stemming from the sin of Adam, the inherited “contagion” of Original Sin, “infants who die without the grace of regeneration [the sole source of which is the sanctification of baptism] are excluded from the kingdom of God.” I continue to share Julian’s humane indignation at Augustine’s presuming to speak for God in condemning infants. By an intriguing accident, the theological and ad hominem attack I quote here survives only because it happened to be among the unfinished work on Augustine’s desk at the time of his death:

Tiny babies, you say, are not weighed down by their own sin, but are burdened with the sin of another. Tell me then, who is this person who inflicts punishment on innocent creatures? …you answer God. God, you say, God! He who commanded His love to us, who has not spared His own Son for us…He it is, you say, who judges in this way; he is the persecutor of newborn children; he it is who sends tiny babies to eternal flames….It would be right and proper to treat you as beneath argument: you have come so far from religious feeling, from civilized feeling, so far, indeed, from mere common sense, in that you think your Lord God is capable of committing a crime against justice such as is hardly conceivable even among the barbarians. (Opus imperfectum contra Julianum, I. 48ff)

As revealed by the final report of the theologians convened in Rome in 2007, the Catholic Church has still not found a definitive way to extricate itself from this grotesque spectacle. The Commission labored, and brought forth a mouse—a “hope” that the babies might be saved, but a hope lacking any “explicit” scriptural basis. What, one wonders, about Jesus, who, indignant at his disciples’ attempt to rebuke those who were “bringing children to him, that he might touch them,” insisted (in all three synoptic Gospels), “Let the children come to me, do not hinder them; for to such belongs the kingdom of heaven” (Mark 10:14; cf. Matt 19:14, Luke 18:16). Or, moving beyond scripture, one wishes these male theologians had been moved by the account of the third-century martyr, Perpetua, who envisioned, in her own prison-cell, her younger brother (who had died as an unbaptized child) liberated from a place of heat and thirst, and now, thanks to her prayers, drinking at a pool and “playing joyously as young children do.” Or, finally, why not take into account Julian’s rebuke of Augustine for lacking “religious” or “civilized” feeling, mere “common sense” and “justice”?

But the deliberations of these 21st-century theologians were dominated and (to my mind) warped by Original Sin, much of its obsessive doctrinal burden to be tracked back to fifth-century Hippo. For all his indisputable greatness, this is part of Augustine’s ambiguous legacy. Historically and officially, the Catholic Church may have denied, downplayed, or backed away from, the more extreme of Augustine’s doctrinal obsessions; but because of his sheer intellectual power and the magnitude of his authority, he has cast a shadow over the past 1,600 years of Western Christianity, for me, a remarkably dark shadow. Augustine’s particular pessimistic vision was shaped by his own sexually-obsessed psychology, the theological controversies in which he engaged, and, of course, by his response to the history he witnessed in an age of barbarian invasions, culminating in the Fall of Rome in 410, and the siege of Hippo itself in the final years of Augustine’s life. But one wishes that readers, especially theologians, who have adopted or succumbed to the Augustinian darkness would also have remembered the following sentence: “Here also is a lamentable darkness in which the capacities within me are hidden from myself, so that when my mind questions itself about its own powers, it cannot be assured that its answers are to be believed” (Confessions, Book 10:32).

An admirable questioning of his own certitudes, but hardly enough to make up for the subsequent damage caused by Augustinian “answers” that were “believed” by far too many for far too long. While the Confessions and parts of The City of God remain indelible in my memory, the reading of Augustine certainly failed to bestow upon me—as it did upon George Coyne, to revert to his response to Carl Sagan—the “gift of faith.”

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Whatever his inclination toward predestination and his insistence on the eternity of punishment (even of the little ones Jesus wanted near him), Augustine seems rather dispassionate about the actual witnessing of that punishment. He does remark that those who enter into the joy of the Lord “shall know what is going on outside in the outer darkness” and that the saints, “whose knowledge is great,” shall be “acquainted…with the sufferings of the lost” (The City of God, Books 20, 22). But he doesn’t seem to have taken sadistic pleasure in the torments of the damned. That ultimate form of Schadenfreude, and another pivotal challenge to my faith, was awaiting me in the pages of the other theologian cited by George Coyne as a pillar of his faith: Thomas Aquinas.

Keane2An image from the Winchester Psaltery (c. 1225)

I learned a great deal from working through the Summa Theologiae, my reading of which began in 1958, the very year George Coyne himself graduated from Fordham. Indeed, for a time I re-oriented my thinking, replacing Augustine’s Christianizing of Plato (or, rather, the Neoplatonists) with Thomas’s Christianizing of Aristotle. Then, one fateful day, I came upon a passage in the Third Part of the Summa, Supplement, Question 94, First Article, titled “Whether the Blessed in Heaven Will See the Sufferings of the Damned.” Here, the good Doctor tells us that “Beati in regno coelesti videbunt poenas damnatorum, ut beatitudo illis magis complaceat [The blessed in the kingdom of heaven will be allowed to see the sufferings of the damned in order that their bliss may be more delightful to them].

More than a half-century later, I can still recall my shock in encountering words I found morally repellent. In the years to come, I would, like all of us, encounter innumerable examples, ranging from the pettiest to the most malicious, of people taking pleasure in the temporal misfortune, even the suffering, of others. And literature provided still more illustrations. I was struck, in reading The Iliad, by those panoramic scenes of the Homeric gods looking down from Olympus, taking pleasure in the entertainment provided by the spectacular carnage of the Trojan War. I was aware, too, of a famous passage in a favorite text, De rerum natura, where Lucretius captures the emotion of Schadenfreude in an extended image: Suave, mari magno turbanti aequora ventus, e terra magnum alterius spectare laborem [It is pleasant to watch from the land the great struggle of someone else in a sea rendered great by turbulent winds]. At the same time I was reading Augustine and Aquinas, I was also deep into the Romantic poets. And so I was familiar with Lord Byron’s moving portrait of the Gothic gladiator, torn from his native land, his children, and his wife, and now about to die in the Coliseum, “Butchered to make a Roman Holiday!” (Though there was a scene outside the Coliseum in the 1953 Audrey Hepburn-Gregory Peck film, Roman Holiday, it seems unlikely that whoever titled this delightful and poignant movie had the full Byronic context of the phrase in mind.)

In light of the very different, but Coliseum-related, passage I will soon be quoting from Tertullian, it is worth noting that this butchery to please the bloodthirsty Roman spectators is not the only Schadenfreude-moment in this famous passage from Canto IV of Childe Harold’s Pilgrimage. The spectacle of the dying German gladiator, a sacrifice that pleased the sadistic Roman crowd safe in their seats, aroused the compassion, and stirred the anger, of the anti-imperialist poet: “Shall he expire, / And unavenged? Arise, ye Goths, and glut your ire!” And the passage ends on a final note of commendable Byronic Schadenfreude: a glimpse of “Rome and her Ruin past Redemption’s skill”—a sort of proleptic vision of vengeance Byron empathetically shares with his coerced and slain gladiator.

Lord_Byron_Childe_Harold's_Pilgimage

But in 1958, for all my delvings into theology, philosophy, and literature as a member of the advanced “A” Class at Fordham, I was still an inexperienced naif from the Bronx and a practicing Catholic. To encounter this passage about the bliss of the blessed being enhanced by delighting in the torments of the damned, coming from, of all people, Catholicism’s central philosopher-theologian, stunned me—especially since elsewhere in the Summa (Second Part, Question 74), Aquinas identifies delectatio morosa [morose delectation] as a sin. In fact, I was still disturbed enough a year later to finally seek out a particularly eminent Jesuit on campus, who referred me to literature on what has been called “the Abominable Fancy.”

farrarFrederick Farrar

The term, coined by the 19th-century cleric and writer, Frederick Farrar, refers to what I learned was a long-standing Christian idea that witnessing the sufferings of the doomed intensified the bliss of the saved. Farrar himself was a believer in universal reconciliation, a position he defended at length in Eternal Hope (1879) and Mercy and Judgment (1881). In his 1963 book The Decline of Hell, D. P. Walker remarks that the idea of eternal punishment in hell (a tradition “almost unchallenged” until the 17th century) was often accompanied by the idea that “part of the happiness of the blessed consists in contemplating the torments of the damned.” He offered a persuasive double-explanation: “The sight gives them joy because it is a manifestation of God’s justice and hatred of sin, but chiefly because it provides a contrast which heightens their awareness of their own bliss.” Nevertheless, echoing Farrar, he describes it as a particularly “abominable aspect of the traditional doctrine of hell” (29).

Advocates of what Farrar and Walker condemn as an abomination cite scriptural roots, some tenuous in terms of eternal vengeance. In Psalms, for example, “the righteous shall rejoice when he sees the vengeance” (58:10) and, in 68:2-3, when the “wicked perish before God,” the righteous shall “be joyful; let them exult before God; let them be jubilant with joy.” In a favorite phrase of devotees of the abominable fancy, the righteous shall “go forth” to enjoy the suffering of the damned, an allusion to the famous finale (Isaiah 66:24), in which the faithful “go forth and look” on the rotting corpses of the rebellious; as earlier noted, the reference may be restricted to mutable bodies rather than eternal souls. But in the more explicit and far more vengeful New Testament Book of Revelation, we are informed not only that, thanks to an avenging God, the saints and prophets” shall “rejoice” over the fallen city of Rome (18:20), but that the vengeance announced by the Third Angel will be eternal and witnessed by the whole of the heavenly host, including Jesus: a gazing-down scene popular in ancient and medieval iconography. Whoever “worships the beast,” thunders the Apocalyptist, “shall drink the wine of God’s wrath,” and “shall be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb. And the smoke of their torment goes up forever and ever” (14:9-11).

This is presumably the passage to which Thomas Burnet was alluding in ironically describing the “divine harmony” produced by the burning of most of humankind in “the presence of an audience of God and angels.” But another text Burnet may have had in mind in satirizing the delight of that “audience” enjoying the agonies of the damned as an infernal “spectacle on the stage,” is the very book to which my Jesuit mentor directed me without further comment: Tertullian’s De Spectaculis, “On the Spectacles,” perhaps the most sustained and sensational illustration of the Abominable Fancy. I repaired to the old Duane Library and found the text, newly translated by Rudolph Arbesmann, and included in Tertullian: Disciplinary, Moral, and Ascetical Works (Fordham UP, 1959). Pagan public spectacles, such as those in the Coliseum, are despicable. Thus far, Tertullian and the Byron who elegized the dying gladiator are in agreement. But their versions of Schadenfreude could hardly be more antithetical.

ByronPortrait of Lord Byron by Thomas Phillips

Rebelling against but haunted by Calvinist indoctrination and harangued by a pious mother and scripture-spouting nurses, Byron was simultaneously shadowed by the fear that he was predestined to damnation and appalled, on humane grounds, by the very concept of eternal punishment. In serious works, like his great closet drama Cain, he identified with the title character and even with rebel Lucifer; and in his jocoserious moments, especially in his two ottava rima comical masterpieces, Don Juan and The Vision of Judgment, Byron mocked aspects of a religion whose catechism he knew more intimately than most believers, praising Jesus but targeting Christian cant and cruelty. In Don Juan, he dealt with the pitiless but pious burning of heretics in a single wittily-rhymed couplet: “Christians have burned each other, quite persuaded/ That all the Apostles would have done as they did” (I.83). And in stanza 14 of The Vision of Judgment, he displays a universalist tolerance and compassion alien to Tertullian’s relish in the agony of the damned: “I know,” says Byron at his ironic best, “this is unpopular; I know/ ‘Tis blasphemous; I know one may be damn’d/ For hoping no one else may e’er be so….”

TertullianTertullian

Here, at last, is Tertullian on Spectacles. The greatest, and by far the most entertaining, spectacle of all, he gloats in Chapter 30, will be the Final Judgment, when the mighty of the world shall be consumed in flame. (In the extraordinary passage that follows I do not adhere to any single translation):

You are fond of spectacles? Expect the greatest of all spectacles, the last and eternal judgment of the universe. How shall I admire, how laugh, how rejoice, how exult, when I behold so many proud monarchs and fancied gods, groaning in the lowest abyss of darkness; so many magistrates, who persecuted the name of the Lord, liquefying in fiercer fires than they ever kindled against the Christians; so many sage philosophers blushing in red-hot flames with their deluded pupils; so many celebrated poets trembling not before the judgment-seat of Rhadamanthus or Minos, but of Christ—a surprise! So many tragedians, more tuneful in the expression of their own sufferings, should be worth hearing! Dancers and comedians skipping in the fire will be worth praise! The famous charioteer will toast on his fiery wheel; the athletes will cartwheel not in the gymnasium but in flames….

The scenes in which he exults, taking “greater delight…than in a circus,” are in the future. “Yet even now,” Tertullian concludes, “we in a measure have them by faith in the picturings of imagination”—just such a topsy-turvy “picturing” as he has here vividly presented. In this reversal, the pagan gods are supplanted by Christ (as in Milton’s “Nativity Ode”), pagan thought and art by the new religion, present suffering by future bliss. Oppressed by prideful pagan masters who tortured and martyred them in public spectacles, Christians will have the last vengeful laugh, looking down, as it were, from the good seats in the Heavenly Coliseum, at the “greatest of all spectacles,” the fiery Hell of the Last Judgment.

Though Tertullian’s fervid and vindictive rhetoric, a masterpiece of Schadenfreude, was reduced by Arbesmann (in a footnote) to “a colorful description of the millennium,” it had been, I soon discovered, singled out by Edward Gibbon for special censure. In his great history of the Roman Empire, Gibbon notes that early Christian hatred of “idolatrous” pagan spectacles and games embraced all pagan art and scholarship—an eternal condemnation, at the very least of those who persisted in their obstinacy after the redemptive sacrifice of Christ on the cross. “These rigid sentiments,” writes Gibbon, “which had been unknown to the ancient world, appear to have infused a spirit of bitterness into a system of love and harmony…[T]he Christians who, in this world, found themselves oppressed by the power of the Pagans, were sometimes seduced by resentment and spiritual pride to delight in the prospect of their future triumph.” After citing at length the “stern Tertullian” of chapter 30 of De Spectaculis, Gibbon adds: “But the humanity of the reader will permit me to draw a veil over the rest of this infernal description, which the zealous African [Tertullian is believed to have been born or at least raised in Carthage, in Roman North Africa] pursues in a long variety of affected and unfeeling witticisms.” (Decline and Fall of the Roman Empire, Chapter 15)

As intended by the Jesuit who had directed me to it, the passage of Tertullian placed Aquinas’s comment in historical and religious context, that of imperial Rome in the 3rd century AD (De Spectaculis was probably written in the second decade of that century, after Tertullian had allied himself with the prophetic Montanist sect). But that context did not make the statement of Aquinas, a millennium later, any less repellent; and Gibbon’s humane rejection of the “resentment and spiritual pride” into which Tertullian had clearly been “seduced” tallied with my own aversion from the echoing passage in Aquinas. Tertullian’s relishing of this one “spectacle” may also be echoed in another passage likely to have influenced Aquinas. The pre-Thomistic scholastic theologian Peter Lombard, in his Sentences (Libri quatuor sententiarum), written in the mid-twelfth century, speaks of the “elect” sallying forth to witness “the torments of the impious, seeing which they will not be grieved,” but rather “will be satiated with joy at the sight of the unutterable calamity of the impious” (Sentences, IV. 50).

But the more I looked into the abyss, the more I realized the extent to which the retributive hell envisioned in the Sentences and in the Summa had been preceded not only by Tertullian, but, minus an emphasis on the gloating bliss of the saved, by Paul and, with wrath rather than sadistic resentment, by Jesus himself. On eternal punishment, Paul goes into less detail than does Jesus and the author of the Book of Revelation. In the remarkably intense opening chapter of his second letter to the Thessalonians, however, Paul foreshadows the apocalyptic fury of Revelation, “when the Lord Jesus is revealed from heaven with his mighty angels in flaming fire inflicting vengeance” on those “who do not know God” or who “do not obey” Christ’s gospel: “They shall suffer the punishment of eternal destruction and exclusion from the presence of the Lord” (2 Thess 1:8-9).

Early in Romans, his longest and most influential letter and the one in which he has most to say about divine wrath, Paul observes that while “God’s kindness is meant to lead you to repentance,” those with hard and impenitent hearts are “storing up wrath for yourself on the day of wrath,” when “there will be “tribulation and distress for every human being who does evil” (2:6-10). As we have seen, the Potter-God analogy (Rom 9:21-23) imprinted itself indelibly on the rather fevered imagination of Augustine, who turned Paul’s “lump of clay” into a sinful, filthy, and doomed “lump”: massa peccata, massa perditionis, massa damnata. Even though he makes it clear that the clay vessels are preordained for either glory or destruction, Paul strikes a better balance than the Bishop of Hippo:

Has the potter no right over the clay, to make out of the same lump one vessel for beauty and anther for menial use? What if God, desiring to show his wrath and to make known his power, has endured with much patience the vessels of wrath made for destruction, in order to make known the riches of his glory for the vessels of his mercy, which he has prepared beforehand for glory…?” (9:20-23)

Paul advises us, still later in Romans (12:17), “Do not repay evil for evil.” But there is a catch; we are to forego personal vengeance in order to “leave room for God’s wrath.” In this way, by refusing to “take revenge” against your enemy, “you will heap burning coals on his head” (12:18-21). Moderate commentators have sought to make the final and most graphic image more palatable, suggesting that it refers to a form of ceremonial repentance or a shaming of one’s enemies. Perhaps. But when, in Paul’s likely source (Psalms 25:21-22), David cries out, “May burning coals fall upon them,” he is not talking about merely shaming his enemies. He is invoking what Paul (in the very epistle in which he has most to say about the subject) has just referred to as “God’s wrath.”

Divine wrath was certainly emphasized by Jesus, who—despite his embodiment of the Love thought to be the very antithesis of the God of Wrath—spoke more, and far more graphically, about Hell than about Heaven. In an unforgettable passage (John 10:7-10), Jesus presents himself as the “door” to salvation, as the “good shepherd” who “lays down his life for the sheep,” as he who “came that they may have life, and have it abundantly.” In the light of such moving and redemptive imagery, one wants to repress the darker side of Jesus’ ministry. My heart and head are with nuanced theologians, yet it seems to me that Jesus is speaking (or being made to speak by the Gospel-authors) literally rather than (as many would prefer) figuratively in those passages in which he opens the mouth of hell.

For the “door” swings both ways. In the passage I earlier suggested was echoed by Augustine in observing that “many more” are punished than are “delivered,” Jesus said: “Enter by the narrow gate; for the gate is wide and the way is easy that leads to destruction, and those who enter by it are many. For the gate is narrow and the way is hard, that leads to life, and those who find it are few” (Matt 7:13-14). The road most traveled by (and Jesus does suggest that most of humanity is on the road to perdition) leads to a hell that is a place of both “darkness” and flame, a “fiery furnace” where (in a phrase attributed repeatedly to Jesus, mostly in Matthew, to describe the torments of the damned) there will be “weeping and gnashing of teeth” (Matt 8:12, 22:17, 25:30; cf. Luke13:27-28). And when Jesus says, “Depart from me, you cursed, into the eternal fire prepared for the devil and his angels” (Matt 25:41), the departure implies more than separation from God and is obviously permanent. The damned are “cast into eternal fire” (Matt 8:18) its flames “unquenchable” (Matt 3:12, Luke 3:17, Mark 9:43). Thus, the “many” depart to a place of agony both intense and “everlasting”—the Greek word for which, aionios, occurs 71 times in the New Testament.

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That the adjective “everlasting” is applied in the New Testament to Heaven as well as Hell points to the Love/Wrath symmetry that ostensibly reconciles the great paradox: that eternal punishment is not inconsistent with the character of God, who is at once loving and benevolent, but also righteous and a God of justice, who metes out punishment as well as reward. The radiance of Jesus shines through the Gospels, despite such passages. But whether or not the hellfire passages accurately depict what Jesus actually said, they are there, and cannot simply be selectively dismissed by those who want a gentler Jesus—a Savior, but not a Sentencer. A major 19th- century theologian tried to do just that. The moderate and much-admired Anglican F. D. Maurice was dismissed from his position as Professor of Theology and Modern History at Kings College, London, when his Theological Essays of 1853 revealed his growing conviction that the notion of eternal punishment was erroneous, and based on a misunderstanding of biblical passages. Others went farther.

Frederick_Denison_Maurice._Portrait_c1865F.D. Maurice

In accord with their optimistic doctrine of apokatastasis, the idea of eternal punishment was rejected by prominent theologians, from Origen through Gregory of Nyssa, Julian, Scotus Erigena, and George MacDonald, whose 1879 rejection of the idea of eternal punishment cost him his post, as it had Maurice—in MacDonald’s case, his Church of Scotland pulpit. Such universalists, right up to the present, believe that divine Love will conquer all. In the words of Rowan Williams, the controversial former Archbishop of Canterbury, “if salvation is for any, it is for all” (The Truce of God [2005], 30). Yet the idea of universal redemption also reminds me rather too much of the Dodo Bird’s response to Alice’s query about how—since the runners in the race they are watching start when and where they want—a winner can be determined: “Everybody has won,” says the Dodo, unconsciously launching a thousand theses on moral equivalence, “and all must have prizes” (Alice in Wonderland, Chapter 3).

Alice_John_Tenniel_Alice and Dodo by John Tenniel

Others, seldom with the resentment-fueled malice of Tertullian, want a judgmental Jesus, since it seems only just that the wicked be punished, if not in this life, then in the next. For those more repelled than awed by the idea of “sinners in the hands of an angry God,” the punishment is justified on the basis of the free will minimized by Augustine. Human beings are free to accept or reject Christ’s offer of salvation. C. S. Lewis is emphatic about this choice. But while he bases his argument on freedom to choose, and wishes hell away, its horrors are presented with all of Lewis’s considerable imaginative power. He also grimly notes, in The Problem of Pain (1940), that our final choice is irrevocable and that “the gates of hell are locked from the inside” (127). Free will is also stressed by prominent Christian philosopher Alvin Plantinga, in God and Other Minds (1990), and elsewhere. Free choice was starkly presented in 2005 by Robert Jeffress, in Hell? Yes!—a cleverly glib title synopsizing his Schadenfreude-dripping certitude that “every occupant of hell will be there by his own choice” (85).

hell-yes-book

The smug, stony coldness of that verdict is intensified by the fact that the hell of the secularist-baiting Jeffress (as well as of Lewis and Plantinga) is “everlasting.” Even if punishment of sin is thought justifiable, surely eternal damnation, Augustine notwithstanding, is disproportionate given the brevity of human life; and grotesque in the case of those for whom history and geography ruled out knowing let alone choosing Christ. I am chilled by the thought that the gates of hell are “locked from the inside” and that every inmate “will be there by his own choice.” Nevertheless, as a professor opposed to grade inflation, I am with Alice rather than the Dodo. I also confess to being oddly stirred by the frisson of a remark the poet and Catholic convert Lionel Johnson, “his tongue loosened” by drink, once made in casual conversation with his friend Yeats: “I wish those who deny eternity of punishment could realize their own unspeakable vulgarity.” My response is precisely that of Yeats, who adds, “I remember laughing when he said it, but for years I turned it over in my mind, and it always made me uneasy” (private note, published in T. R. Henn, The Lonely Tower: Studies in the Poetry of W. B. Yeats [1950], 291). But even in Johnson’s remark we find hauteur and hyperbole rather than the flippant coldness of the author of Hell? Yes!, let alone the sadism and resentment Gibbon condemned in Tertullian’s catalogue of pagans groaning in darkness and liquefying in fire—to say nothing of his other “unfeeling witticisms” at the expense, for example, of the tragic poets now burning in hell, who have grown “more tuneful in the expression of their own sufferings.”

There is no dearth of preachers who take an unseemly pleasure in terrifying, or gratifying, their audiences with fire and brimstone. Celebrated theologians, perhaps most prominent among them Jonathan Edwards, have delivered sermons depicting the terrors of the pit of hell to motivate their flocks to repent and be saved. Edwards was, along with the more flamboyant George Whitefield, the key figure in the Great Awakening of the 1730s and 1740s in America. Speaking softly, he terrified those attending his classic 1741 Enfield sermon, “Sinners in the Hands of an Angry God”:

The pit is prepared, the fire is made ready, the furnace is now hot, ready to receive the wicked! The flames do now rage and glow. The God that holds you over the pit of hell, much in the same way one hold a spider or some loathsome insect, abhors you and is dreadfully provoked. (Works, VII, 499)

And, however intellectually enlightened he may have been, Edwards was an enthusiastic advocate of the abominable fancy. The “view of the misery of the damned,” he proclaims in an April 1739 sermon, “will double the ardor of the love and gratitude of the saints in heaven,” for whom the “sight of hell torments will exalt [their] happiness… forever (“The Eternity of Hell Torments”). A close disciple of Jonathan Edwards, Samuel Hopkins (1721-1803), though a humanitarian activist motivated by disinterested benevolence (indeed, an opponent of the slave trade who envisioned establishing colonies in Africa for liberated slaves), was rather less humane in contemplating the divine design involving hell, and the psychological as well as retributive purpose it served. He was even more explicit than his mentor Edwards about the suffering—specifically, the eternal suffering—of others being required to maximize the happiness of the blessed:

The display of the divine character will be most entertaining to all who love God, [and] will give them the highest and most ineffable pleasure. Should the fire of this eternal punishment cease, it would in a great measure obscure the light of heaven, and put an end to a great part of the happiness and glory of the blessed. (Works, 458)

Of course, to “all who love God,” there was also a “world of love” awaiting. Jonathan Edwards concluded his 1738 sermon, “Heaven is a World of Love,” by conditionally assuring his listeners, “if ever you arrive at heaven, faith and love must be the wings which must carry you there.” He would seem to be echoing the 1708 prayer of his fellow Congregationalist, Isaac Watts, whose hymns were known throughout Protestant Christendom:

Give me the wings of faith to rise
Within the veil, and see
The saints above, how great their joys,
How bright their glories be.

But Watts was also capable, enthusiastically if less characteristically, of attributing the “joys” of those “saints above” to the Abominable Fancy. The following quatrain comes from a hymn that presumably once fired up, or terrified, congregations, but which is seldom sung these days:

What bliss will fill the ransomed souls,
When they in glory dwell,
To see the sinner as he rolls
In quenchless flames of hell.

And what if the sinners rolling in quenchless flames happen to be the nearest and dearest of the ransomed? When asked if the saved will not be saddened by seeing loved ones tortured in hell, Martin Luther responded, “Not in the least.” And Johann Gerhard, the leading Lutheran theologian of the 17th century, observed that “the Blessed will see their friends and relations among the damned as often as they like but without the least of compassion.” Addressing a series of rhetorical questions—“Can the believing husband in heaven be happy with his unbelieving wife in hell? Can the believing father in heaven be happy with his unbelieving children in hell? Can the loving wife in heaven he happy with her unbelieving husband in hell?”—Jonathan Edwards responded quietly but exuberantly, “I tell you, Yea! Such will be his sense of justice that it will increase rather than diminish his bliss” (Discourses on Various Important Subjects, 1738). In his 1924 collection of essays, The Liberty of Man, Woman, and Child, the “Great Agnostic,” Robert Ingersoll, observed of this repudiation of the familial bond, “There is no wild beast in the jungles of Africa whose reputation would not be tarnished by the expression of such a doctrine.”

packer1J.I. Packer photo by Ron Storer

Such heartless theological sentiments persist. As we were recently assured by Canadian minister and theologian J. I. Packer, “love and pity for hell’s occupants will not enter our hearts” (“Hell’s Final Enigma,” in Christianity Today Magazine, April 22, 2002).Two years later, actor Mel Gibson, later notorious for a drunken anti-Semitic rant and various sexual infidelities, surprised an interviewer for the Australian Herald Sun by stating that his wife, Robyn, though “a much better person than I am,” indeed a “saint,” was an Episcopalian, and therefore headed to hell, since he was doctrinally certain that there was no salvation outside the Roman Catholic Church. Gibson, an ultra-conservative Catholic, either didn’t know or didn’t care that the ecumenical post-Vatican II Church had revised the old dogma, extra ecclesiam nulla salus. In any case, as a Catholic, he was going to heaven, from which perch he would ultimately and eternally be looking down on his wife in hell: a woman almost certainly “a much better person” than he—and, in her pre-infernal existence in the temporal world, remarkably well-off, having received 400 million dollars, the largest settlement in Hollywood history, when she divorced Gibson in 2011, less than a decade after he had consigned her to the pit of hell.

That dogma, and the familial heartlessness that turns, in Edwards and others, from wife, husband, and children in the name of theology, was still operative in the late 19th century, when, writing in Spanish, Cuban Archbishop Anthony Mary Claret composed a series of 35 meditations on the Ignatian Spiritual Exercises (translated into English in 1955 as The Golden Key to Heaven). Some meditations are admirable, but in addressing the “Pains of Hell,” Claret noted that “for all eternity,” a condemned “wretch” will be abandoned by friends, without a “kind word.” Rather, “they will be satisfied to see him in the flames as a victim of God’s justice. They will abhor him. A mother will look from paradise upon her own condemned son without being moved, as though she had never known him.”

In my junior year at Fordham, precisely a decade after Archbishop Claret was canonized by Pope Pius XII, we had a retreat that employed Ignatian “composition of place” to evoke the physical and spiritual agonies of eternal punishment: a presentation as graphic and horrifying as the hellfire sermon that sends a terrified Stephen Dedalus scurrying off to confession in A Portrait of the Artist as a Young Man. The sustained double-sermon in Portrait (it takes up most of Part III of the novel) was delivered by Fr. Arnall, Joyce’s fictional name for the priest, Fr. James Cullen, who led the actual retreat Joyce attended as a Belvedere College student. In fact as in fiction, the retreat was based on traditional Jesuit sermons. The main text Joyce used was Giovanni Pietro Pinamonte, S. J., Hell Opened to Christians, to Caution Them from Entering into It, first printed in Bologna in 1688, and frequently reprinted in English translations (though fluent in Italian, Joyce used a late 19th-century translation printed in Dublin).

Keane1Four Woodcuts from Pinamonte’s Hell Opened to Christians, to Caution Them from Entering into It

As I can attest from my own experience, the order, imagery, phrasing, biblical citations, and graphic images to which we were exposed at Fordham in 1960 were virtually identical to the pattern laid down in Giovanni Pinamonte’s uncompromising ur-text, a rhetorical set-piece at once salutary and terrifying. Another model for Fr. Arnall may have been the appropriately-named Fr. Furniss, a sadistic 19th-century Anglo-Irish priest who specialized in terrorizing children with the threat of hellfire. We can catch the flavor of the preaching of both Pinamonte and Furniss in the hell-passages of the sermon in Portrait. Though Fr. Arnall covers in sequence the four “last things, death, judgment, hell, and heaven,” the section of the retreat that struck terror in the soul of Stephen Dedalus, as in mine in 1960, followed the opening of the maw of hell—fusing Pinamonte’s title, Hell Opened to Christians, with the “opening” of the “mouth” of Sheol in Isaiah:

Hell has enlarged its soul and opened its mouth without any limits—words taken, my dear little brothers in Christ Jesus, from the book of Isaias, fifth chapter, fourteenth verse….

—Now let us try for a moment to realize, as far as we can, the nature of that abode of the damned to which the justice of an offended God has called into existence for the eternal punishment of sinners. Hell is a strait and dark and foulsmelling prison, an abode of demons and lost souls, filled with fire and smoke ….By reason of the great numbers of the damned, the prisoners are heaped together in their awful prison, the walls of which are said to be four thousand miles thick…They are not even able to remove from the eye a worm that gnaws it [echoing, like the coming “stench,” that old favorite, Isaiah 66:24]….They lie in exterior darkness…for the fire of hell, while retaining the intensity of its heat, burns eternally in darkness…

—The horror of this strait and dark prison is increased by the awful stench. All the filth of the world, all the offal and scums of the world, we are told, shall run there as to a vast reeking sewer when the terrible conflagration of the last day has purged the world…Imagine some foul and putrid corpse that has lain rotting and decomposing in the grave, a jellylike mass of liquid corruption. Imagine such a corpse a prey to flames, devoured by the fire of burning brimstone and giving off dense choking fumes of nauseous loathsome decomposition. And then imagine this sickening stench, multiplied a millionfold and a millionfold again from the millions upon millions of fetid carcasses massed together in the reeking darkness, a huge and rotting human fungus. Imagine all this and you will have some idea of the horror of the stench of hell.

But more and worse was to come: namely, the pain, intensity, and eternity of the fire “created by God to punish the unrepentant sinner”—a litany of tortures that out-Dantes Dante. Earthly fire consumes itself,

but the fire of hell has this property that it preserves that which it burns and though it rages with incredible intensity it rages for ever….The blood seethes and boils in the veins, the brains are boiling in the skull, the heart in the breast glowing and bursting, the bowels a redhot mass of burning pulp, the tender eyes flaming like molten balls…And the strength and quality…of this fire is as nothing when compared to its intensity, an intensity which it has as being the instrument chosen by divine design for the punishment of soul and body alike. It is a fire which proceeds directly from the ire of God, working not of its own activity but as an instrument of divine vengeance….Every sense of the flesh is tortured… and through the several torments of the senses the immortal soul is tortured eternally in its very essence amid the leagues upon leagues of glowing fires kindled in the abyss by the offended majesty of the Omnipotent God and fanned into everlasting and ever increasing fury by the breath of the anger of the Godhead.

Fr. Arnall concludes by praying “fervently to God that not a single soul of those who are in this chapel today…may ever hear ringing in his ears the awful sentence of rejection: Depart from me, ye cursed, into everlasting fire which was prepared for the devil and his angels!” (Portrait, 119-24).

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The emphasis of our retreat-master at Fordham was, as with Fr. Arnall, on repentance and salvation. But even their final prayerful citation of Jesus (Matt 25:41) intensified rather than alleviated the terror of being cast into “the everlasting fire.” There was nothing merely figurative about our preacher’s detailed descriptions of the myriad torments of hell, and, though I knew nothing in 1960 of Pinamonte or Furniss, it was sometimes hard to separate the tone and sensuous immediacy of our priest’s Jesuit rhetoric from the vindictive glee of Tertullian relishing the agonies of the damned.

NietzscheFriedrich Nietzsche

Shortly after I graduated from Fordham, in 1961, I read Nietzsche seriously for the first time. I had earlier responded to the excitement of his literary style and to what W. B. Yeats described with remarkable tonal accuracy as this “strong enchanter’s curious astringent joy.” But in reading On the Genealogy of Morals, arguably the most substantial of his works, I discovered that Nietzsche had responded to the very passages in Aquinas and Tertullian that had so troubled me a few years earlier at Fordham. Quoting both passages in Latin, Nietzsche attributed their sadism—as expressed particularly by that “enraptured visionary,” triumphalist Tertullian—to what he repeatedly condemns (always in French) as the ressentiment characteristic of “slave morality”— here, future “blessedness” as Will to Power in disguise (Genealogy of Morals 1:15). Gibbon’s image of oppressed Christians “seduced…by resentment and spiritual pride to delight in the prospect of their future triumph,” may have helped generate Nietzsche’s crucial concept, first announced in Beyond Good and Evil §260 and fully developed in the Genealogy, of ressentiment as the driving impulse of “slave morality”: the desire of the weak, the “good”, for vengeance against the strong, depicted not merely as “bad,” but “evil.”

The dubiousness of the doctrine of eternal punishment of those condemned as “evil,” let alone the appalling notion that, far from eliciting empathy, their suffering is a source of glee for the saved, becomes even more repugnant when that pleasure is extended from his creatures to the Creator himself. Some Christians claim that the bliss of the saints, enhanced by looking down on the suffering of the damned, is shared by God—as we just saw in quoting Joyce’s version of the standard Jesuit retreat-sermon as well as the sermons of Jonathan Edwards and his disciple Samuel Hopkins. Whatever the values of its spiritual revival, its influence in effecting social reforms, and its often splendid rhetoric, the Great Awakening seems to me more of a Great Nightmare. The God of Jonathan Edwards, whether the “angry God” who abhors the sinners he holds in his hands, or the “just” God who presides over a system in which the happiness of a father who has made it to heaven is increased rather than diminished by the sight of his “unbelieving children in hell,” is obviously a God to fear, but hardly one we would wish to love or to be coerced into worshiping.

Mills_Examination

I have in mind the conclusion of John Stuart Mill’s Examination of Sir William Hamilton’s Philosophy (1865), a book more revealing of Mill’s own philosophy. Putting aside the “glad tidings” of Jesus, Mill aligns himself with Hamilton in denying any “immediate intuition of God.” But some claim that the “infinite goodness ascribed to God” is not “the goodness we know and love in our fellow-creatures distinguished only as infinite in degree,” but is, rather, “different in kind and of another quality altogether.” In concluding, Mill, risking hellfire, defiantly rejects this God of transcendent, ineffable morality in the name of the highest form of morality among human beings, fellow-creatures with whom we interact ethically, compassionately, and, at our best, with love. “If,” Mill writes, “I am informed that the world”

is ruled by a being whose attributes are infinite, but what they are we cannot learn, except that the highest human morality does not sanction them—convince me of this and I will bear my fate as I may. But when I am told that I must believe this, and at the same time call this being by the names which express and affirm the highest human morality, I say, in plain terms, that I will not. Whatever power such a being may have over me, he shall not compel me to worship him. I will call no being good who is not what I mean when I apply that epithet to my fellow-creatures; and if such a being can sentence me to hell for not so calling him, then to hell I will go. (Works, ed. John M. Robson (1963-1991), 10:103.

Of course, human beings are not always “good.” We can, though it would fly in the face of centuries of Christian tradition, dismiss the notion (hardly restricted to Puritan or Jesuit hellfire sermonizing) of an angry and vindictive deity as an anthropomorphic projection, a reflection of human rather than divine cruelty, sadism, and ressentiment. And it is true that, in what Nietzsche called “these more humane ages,” most Christians, other than rigid traditionalists and literalist fundamentalists, think and speak less of a God of Wrath than of Love, and of hell (as even Billy Graham thinks) as separation from God rather than a literal “place.” Against the Great Awakening of Edwards and Whitefield may be set a more significant awakening: the dawning of the American Enlightenment, best personified by those two once-bitter political rivals and later great friends among the Founding Fathers, Thomas Jefferson and John Adams. “I can never join Calvin is addressing his God,” wrote the deist Jefferson to Adams:

He was indeed an Atheist, which I can never be….If ever a man worshipped a false God, he did. The being described in his 5 points is not the God whom you and I acknowledge, the creator and benevolent governor of the world; but a daemon of malignant spirit. It would be more pardonable to believe in no God at all, than to blaspheme him by the atrocious attributes of Calvin. (17 April 1823)

My friend Paul Johnston recently quoted an observation, made five years earlier, by this letter’s recipient. Writing on 14 September 1818 to Jefferson, Adams attacked reliance on miracles and prophecies, the idea of a vain and vengeful deity, and the awful belief that most of humankind is eternally doomed to Hell. He also offered a personal, rational and humane definition of what he believed it meant to be a Christian:

We can never be so certain of any prophecy, or of any miracle…as we are from the revelation of nature, that is, nature’s God….Can prophecies or miracles convince you or me that infinite benevolence, wisdom, and power created, and preserves for a time, innumerable millions, to make them miserable for ever, for his own glory? Wretch!…Is he vain, tickled with adulation, exulting and triumphing in his power and the sweetness of his vengeance? Pardon me, my Maker, for these awful questions. My answer to them is always ready. I believe in no such thing. My adoration of the author of the universe is too profound and too sincere. The love of God and his creation—delight, joy, triumph, exultation in my own existence—though but an atom, a molecule organique, in the universe—these are my religion. Howl, snarl, bite, ye Calvinistic, ye Athanasian divines, if you will. Ye will say I am no Christian. I say ye are no Christians.

After so much hellfire and rejoicing at its torments, we can find respite in the refreshingly unorthodox voice of Enlightenment Reason, blasphemous though it may be to traditionalists. The deist sobriquets for God, civic and civil, have, in contrast to the sound and fury of sectarian conflict and theological hairsplitting, a euphemistic charm. Momentarily setting aside the angry God and loving but wrathful Jesus of historical Christianity, we can join Jefferson in acknowledging the “benevolent governor of the world,” just as we share Adams’s exultation in his own existence, and appreciate his love of the benign “author of the universe.”

Baruch_Spinoza_-_Franz_WulfhagenBaruch Spinoza by Franz Wulfhagen

Jefferson’s insistence on intellectual and democratic freedom from a tyrannous religion, like the skepticism of Adams regarding the reality of “miracles” and his reinterpretation of the nature of “prophecy,” are aligned for me with the earlier and even more profound enlightenment provided by an Amsterdam Jew writing in the 17th-century Dutch Republic: the great Baruch (Benedict) Spinoza. Despite being expelled from his synagogue and condemned as an atheist, Spinoza proved to have immense appeal, exerting an influence that crossed sectarian divisions. Fervently and famously embraced as a “god-intoxicated man” by the German Catholic Romantic poet Novalis (Friedrich Hardenberg) and—by the English Romantic poets Coleridge and Wordsworth—as a pantheist for whom Nature was indistinguishable from God, Spinoza was also profoundly admired by the atheist Nietzsche, an opponent of all other Idealist philosophers, who rightly venerated Spinoza for his simple and sublime nobility of spirit. As did Einstein, who, because of the “God-talk” in which he expressed his sense of awe and wonder in contemplating the beauty, majesty, and ultimate mystery of the universe, was mistakenly thought, by American admirers in his adopted country, to be a believer in a personal God, one who intervened in human affairs and was accessible by prayer. No, explained Einstein, his “religion” was limited to reverence of the order (since “God did not throw dice”) of the cosmos itself, and his only deity was “Spinoza’s God.”

The first serious philosophy paper I wrote at Fordham was on Spinoza’s Ethics, and I still remember that my Jesuit professor, in grading the essay A+, added a remark more gracious than accurate: that I was “farther along than he on the via illuminativa.” But the work of Spinoza I later wished I’d focused on at Fordham was the Tractatus Theologico-Politicus (1670), an immensely influential treatise pioneering the argument that the Bible, written by prophets of superior ethics but vivid imaginations, was not to be read “literally.” Authentic religion had nothing to do with “miracles and prophecies,” church authorities, or divisive sectarian dogma. Instead, “true religion” was based on the moral imperatives to seek the truth, to love one’s neighbor, and to be tolerant. The book’s political chapters, as far in advance of their time as those on theology, were a sustained plea for democratic toleration, especially in defense of “the freedom to philosophize” without interference from religious or political authorities.

For such thoughts, Spinoza was driven from his synagogue in the harshest terms. The cherum (or ritual of expulsion and ostracism) reads in part: because of his “abominable heresies” and “monstrous deeds,” we “excommunicate, expel, curse, and damn Baruch Spinoza, with the consent of God and with all the curses…written in the Book of the Law.” The vicious backlash against the Treatise also came from Christians. Within weeks of its publication, it was denounced by a prominent German theologian as “a godless document” that should be banned in every country. One of Spinoza’s Dutch countrymen described it as an “atheistic book full of abominations…which every reasonable person should find abhorrent.” Another, not to be outdone, called the deeply moral and eminently reasonable Tractatus “a book forged in hell,” written not by the ethical thinker toiling as a lens-grinder in Amsterdam, but by the devil himself.

In short, before and after welcome bursts of Enlightenment, Dutch or American, there remains a long, problematic, and continuing history of religious intolerance and induced terror. Despite being surrounded by and taught by smart and compassionate Jesuits, and despite (perhaps because of) the fact that I was in the advanced theology course, and attended that terrifying retreat, I have always found it difficult, after those impressionable years at Fordham, to glibly dismiss the concept of the vengeful deity fearfully accepted, or sadistically embraced, by so many believers for so long. And, like it or not, and however softened or “symbolic” much non-fundamentalist Christianity has become in these “more humane ages,” the doctrine of eternal punishment—and the concept of a God willing to initiate, approve, and even occasionally take relish in such monstrous cruelty—has defined traditional Christian theology for most of its history.

The widespread phenomenon often described as the “decline” or even “disappearance” of hell—a trickle in the 17th century, a stream in the American Enlightenment (including the Divinity School Address of Emerson), and cresting in England and continental Europe in the later 19th century, first among Protestants, somewhat later among Catholics—is, taken as a generalization, a historical fact. But while hell’s heat has been lowered, its flames a mere flicker in comparison to their former raging in incendiary hellfire texts and sermons, the old time religion is still alive and well, among some televangelists, and in much of Bible-belt contemporary America.

As for Catholicism: A tonal and gestural sea-change has recently occurred. The election of Pope Francis, an Argentina-based Jesuit, signaled a dramatic double-shift: from Eurocentrism and from dogmatic harshness to compassion and tolerance. That shift seems decisive, but is it permanent, and how far can tone take us in tempering let alone altering doctrine? It was, after all, just seven years earlier that Francis’s conservative predecessor, Benedict XVI, strenuously reaffirmed traditional Church teaching on hell. Benedict’s own predecessor, John Paul II, had referred to damnation vaguely as an “eternal emptiness.” Reacting to the “decline of hell,” especially in Western Europe, Benedict complained that the place of everlasting torment was no longer much talked about. He went on to describe Satan as a “real, personal and not merely symbolic presence” and proclaimed that hell, far from being a mere state of mind, or a condition of separation from God, is an actual place, one that “exists and is eternal.” We were spared fire-and-brimstone details, but listening to this March 2007 proclamation on the radio, I was transported back almost a half-century to that Fordham retreat.

Having lost my faith while remaining fascinated by the figure of Jesus, attractive despite his apparent consignment of most of humankind to eternal punishment, I sometimes want to cry out with the boy’s father in Mark 9:24: “Help thou my unbelief.” But the theological Problem of Suffering goes beyond the posthumous torments of hell to pain right here on earth, with the undeserved suffering of the innocent presenting the single greatest challenge to my own ability to “believe” in a God simultaneously omnipotent, omniscient, and all-loving. As David Hume has “Philo,” the more skeptical of his two spokesmen, note in Part 10 of his posthumously-published Dialogues Concerning Natural Religion (1779), “Epicurus’ old questions are yet unanswered”—questions we may apply to the presence of evil and suffering in a world “groaning” for “deliverance” (Rom 8:19-22), or to the groaning of hopeless souls in hell. Simplifying Epicurus, Hume has Philo ask, “Is God willing to prevent evil, but not able? Then he is not omnipotent. Is he able, but not willing? Then he is malevolent. Is he both able and willing? Whence then cometh evil? (75).

Nothing I read in Augustine or Aquinas about God’s “justice,” or about the constrained freedom that makes eternal punishment the “choice” of sinners, enabled me to answer those questions. And my subsequent immersion in the pornography of the Abominable Fancy only deepened my alienation from the faith I was raised in, and problematized the beliefs I had brought with me as a Freshman entering Fordham. Beginning college was hardly the time to abandon reason; and, in fact, as my classmate and lifelong friend Bill Baumert has often noted in retrospect, we received a first-rate and rigorous education at Fordham—far superior to what generally passes as education these days at colleges and universities where the canon has been “exposed,” the curriculum softened, and demands on students drastically eased, as their prose deteriorates, tuition costs soar, and the party goes on.

But I’ve also had other thoughts in retrospect. Being shocked into intellectual as well as emotional resistance by my reading of that fateful passage in Aquinas, I may have betrayed my own growing commitment to the Romantic poets by embracing a too-narrow intellectualism when it came to theology. Not that I was willing, then or now, to honor Imagination by a descent into irrationalism, any more than the great Romantics did. Neither, for that matter, despite some of the words by which we best remember them, did Luther (for all his distrust and frequent condemnation of “that whore, reason”), nor even Tertullian, the passionate evoker of that circus-scene in which Christians would posthumously join him, exulting in the spectacle of pagans writhing in hellfire. Tertullian is even more famous for having said he “believed because it was absurd,” but it isn’t quite that simple.

In arguing, in de Carne Christi 5:4, that the resurrection of Christ’s body, crucified and buried, was certain because impossible [credibile est, quia ineptum es, et sepultus resurrexit, certum est, quia impossibile]—Tertullian may not have been relying on blind faith (the fideism of the oft-misquoted tag, credo quia absurdum est), but following, as James Moffatt suggested a century ago, “in the footsteps of that cool philosopher Aristotle” (Journal of Theological Studies 17 [1915-16], 170-71). Since, in lines he quotes from the tragedian Agathon, “what is contrary to probability sometimes occurs,” it can be argued, says Aristotle, that “the improbable will be probable” (Rhetoric 2.24.9); even that some stories are so improbable that it can become reasonable to believe them. For Tertullian, the most improbable story is that of the incarnate, crucified, buried, and risen Jesus—which is, paradoxically, what makes it credible. This is the very point made by Shakespeare’s Hippolyta in an exchange in the final act of A Midsummer Night’s Dream, a riposte to her soon-to-be husband, Theseus, that would have delighted Agathon and Tertullian—and, perhaps, Aristotle.

In the opening of that final act, Theseus, a self-assured rationalist, dismisses (“more strange than true”) the lovers’ tales of their adventures in the moonlit wood. They are “fantasies, that apprehend/ More than cool reason ever comprehends,” and thus to be grouped indiscriminately with the merely imaginary constructions common to “The lunatic, the lover, and the poet.” But we in the audience know to be “true” what Hippolyta shrewdly intuits: that however individually fantastic the tales may be, they are part of an over-all consistency that makes each of them credible. To Theseus’ cool skepticism and reductive characterization of “imagination,” she responds:

But the story of the night told over,
And all their minds transfigured so together,
More witnesseth than fancy’s images
And grows to something of great constancy,
But howsoever strange and admirable. (5.1.23-27)

A similar case has often been made, certainly in one of my Fordham theology courses, to demonstrate the “historicity” of the gospels. Tertullian would concur, since those gospels tell the story, “howsoever strange and admirable,” of Christ, a man who is God and a God who is a man, who died in the flesh and rose from the sepulcher: a story “certain” because “impossible.” And yet Aristotle, it is worth recalling, was quoting a playwright, and Hippolyta, though wiser than her betrothed, is, like him, merely a character in a play, even if it is a play by Shakespeare. Tertullian’s central figure, on the other hand, is non-fictional, not only a dying and resurrected God, but a Savior and Sentencer, a loving Good Shepherd and harsh Judge, with the divine power to deliver on his threat: “Depart from me, you cursed, into the eternal fire prepared for the devil and his angels.”

That was the “awful sentence of rejection” our retreat-master at Fordham, and Joyce’s at Belvedere, prayed we would never hear “ringing in our ears,” but which has never completely stopped ringing in mine—even years after I had rationally concluded that the real absurdity was the doctrine of eternal punishment itself, to say nothing of the abominable fancy that witnessing the endless agony of “many” of our fellow human beings could enhance the pleasure of the “few.” For Paul, Tertullian, Augustine, Peter Lombard, Aquinas, Luther, Calvin, Jonathan Edwards, Samuel Hopkins, Archbishop Claret, and, last and least, Mel Gibson, this privileged audience may have been the “blessed,” the “saved,” even the Elect. But if its members were consigning most of humankind to hell, some even taking pleasure in that horrible prospect, it seemed to me—to alter Milton, who also had a few things to day about hell—an “unfit audience though few.” And just to cap my blasphemy: to the extent that the God of infinite Wrath (preached, along with the God of infinite Mercy, by Jesus and Paul) seems eager and willing to act in ways which, however ineffable and transcendent, seem petty, vindictive, and everlastingly punitive—alien, as Mill puts it, to “the highest human morality”—he, too, seems less a Father than a Tyrant.

So, while I am fond, and in part envious, of George Coyne, my final question is not the one posed to him by Carl Sagan (“Why should you be given the gift of faith, and not me?”), but, rather, is this a “gift” I want? And yet, George Coyne is more than a foil in these ruminations. Obviously, we took very different religious paths as a result of our exposure to Augustine and Aquinas at Fordham. But we’ve become friends, and we agree on many things, among others, that Intelligent Design, while an engaging surmise, is not a scientific theory to be taught in biology or physics classes. We agree, too, that kindness and consideration matter crucially, among friends and in the way a professor interacts with students. And we concur on the greatness of the poetry of Gerard Manley Hopkins, S. J., a handsome edition of whose poems and letters I gave George in first welcoming him to Le Moyne.

In the month I am writing, November 2014, we participated together in an event, held in Le Moyne’s Panasci Chapel, to commemorate the 125th anniversary of Hopkins’s death in 1889. I introduced the keynote speaker, Hopkins expert Joseph J. Feeney, S.J., author of The Playfulness of Gerard Manley Hopkins (2008), and the scholar who had, a decade earlier while working in the Jesuit Archives in London, unearthed an unpublished poem written by Hopkins in 1875-76, displaying that “playfulness” and the delight Hopkins took in the companionship of his fellow-Jesuits at St. Bueno’s College in Wales. The poem George read that evening, his favorite, was “God’s Grandeur,” a magnificent, breathtaking celebration of God and God’s Nature. I read the exuberant “Hurrahing in Harvest.” If I were ever to regain my faith, it would have more to do with engaging Hopkins—poems both ecstatically celebrating and darkly “wrestling with (my God!) my God”—than with revisiting the gospels and Paul, let alone Augustine and Aquinas, who led me away from Christianity in the first place.

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Coda

A widely read friend and believer to whom I sent this essay responded that he wasn’t sure what the “story” was primarily “about”–was it autobiographical or theological? about my own “personal loss of faith” or a disquisition on “salvational schadenfreude“? He also asserted that the God in whom I had lost faith was a sadistic deity that “virtually all [my] believing associates would also repudiate.” He further wondered if, in my unbelief, I had become an “atheist,” bereft of all “sense (feeling) of something infusing the material, Hopkins’s glory in dappled things.” He concluded by suggesting that he was “not the right audience” for this essay because he had had spiritual “experiences” that allowed him “to hope that there is something beyond dead, contingent materialism.”

The paradigm for such dramatic spiritual experiences is Saul-Paul’s conversion-moment on the Road to Damascus, which, remarkably enough, Paul himself never mentions (we hear of it in Acts, a particularly corrupt text). Though they’re often life-transforming, I have never had such an experience myself, perhaps because I have not been “given” the “gift of faith,” and thus have no way of judging their ontological, as opposed to their subjective, significance. In thanking my friend for reading the essay and raising probing questions, I assured him that, while I hadn’t had the sort of epiphany he mentioned…

I have had “experiences”—in love, in nature, with animals—that rule out at least “reductive materialism.” Such experiences have long been enhanced by my reading of the Romantic poets and of Hopkins, so I most certainly do have “a sense (feeling) of something infusing the material”—not just Hopkins’s Christ-haunted glory in dappled things, but (in the passage you seem to allude to) Wordsworth’s Spinozistic and (in 1798, when he wrote these lines) non-Christian sublime:

………………………And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man :
A motion and a spirit, that impels
All thinking things, all objects of all thought….

Nor, given the mystery of the universe, am I arrogant enough to label myself an atheist; I’m agnostic, though unconvinced of the existence of a personal God who cares about us.

What is this essay “about”? I’m not sure myself. “Confessional” in both the common and Augustinian senses, it was a convulsive outpouring, written in less than two weeks; and the initial “audience” was… myself: an attempt to lay out the history of, and thus clarify, my individual fall from grace. Eternal punishment, hell, and the accompanying schadenfreude (the sadistic pleasure far too many have taken in relishing the sufferings of the damned), are at the heart of it. But it’s precisely this combination that produced my “loss of faith.” Thus, the “story” is not one of Either/Or, but of Both/And.

The God in whom I lost faith is not simply the God of Augustine or Aquinas, but the God presented to us by the Founders of Christianity: Jesus and Paul. I cite some of the most wonderful utterances of Jesus, as child-loving Good Shepherd and the “door” to salvation. But Jesus also talks more about damnation and hellfire than any person in either testament of the Bible (as I note, the Hebrew scriptures are virtually silent on that subject), and Paul provided the template for the predestined damnation of most humans: the theory of predestination taken up by Augustine (and, to a lesser degree, by Aquinas) and which culminated in the theology of Calvin.

As Calvin himself said, his entire theology is based on Augustine, and much of Augustine (on original sin and on God’s foreordaining of a “few” souls to glory and “many” to damnation) was drawn from Paul, particularly from his longest, weightiest, and most influential epistle, to the Romans. Paul, in turn, was echoing passages of Jesus: the “narrow” gate leading the “few” to heaven, the “wide” gate leading the “many” to hell. And the terrible sentence at the climax of the hell-sermon, in Joyce and at Fordham in 1960–“Depart from me, ye cursed, into the everlasting fire prepared for the devil and his angels”–are, of course, the words of Jesus, as reported in Matthew.

As I say in the essay, “the radiance of Jesus shines through the gospels,” often despite those gospels, written decades after his death. But they’re all we have as accounts purporting to have witnessed Jesus in the flesh, and recording what he said. Though written earlier, the letters of Paul are those of a man who never saw Christ—unless we give credence to the conversion-moment on the road to Damascus. Since Jesus is hardly mentioned outside the New Testament (there’s are references to the Jesus cult in Josephus and in Tacitus, though, in the case of the latter, the reference was added much later, by a Christian editor), we have to rely on the New Testament texts: the gospels, the various letters, especially the epistles of Paul, Acts, and the exciting but crazy Book of Revelation: that world-masterpiece of schadenfreude.

Reading these texts led me to the inevitable conclusion that the God in whom I lost faith is not some bizarre and sadistic deity dreamed up in the pessimistic imagination of Augustine or in the darker pages of the Summa. It’s the Wrathful aspect of the God of Love preached by Jesus and Paul: the God who, they both insist, sentences most of us to everlasting fire. Along with most of my “believing associates,” you want to selectively “look on the bright side.” I mention in the essay the historical phenomenon known as the “decline of Hell.” However, while only a tiny percentage believe that they are headed to the pit, a majority of Evangelicals and Catholics still believe in the traditional hell and in a God of Wrath. In fact, the God in whom I lost faith, that “God that virtually all of [my] believing associates would also repudiate,” is one aspect of the God of Jesus and Paul, which, if we follow the logic, you must “repudiate.”

Coming from my own particular background, including the intense reading in my Fordham theology classes, I find it hard to delete the dark bits. I wish it could be otherwise, but, in contemplating the prospect of eternal punishment as well as this temporal world of massive, mostly undeserved suffering, I find scant evidence of a benign God. Given my particular early experiences, I feel cut off from the option of being what used to be called a “cafeteria Catholic.” Instead, I find myself in the absurd but honest position of being fundamentalist in my agnosticism.

— Patrick J. Keane


PAT kEANE

Patrick J. Keane is Professor Emeritus of Le Moyne College and a Contributing Editor at Numéro Cinq. 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 (2007).

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Feb 022015
 

WittgensteinandMusilRobert Musil (1880-1942) was an Austrian novelist, philosopher, student of mathematics, physics, behavioral psychology and engineering with mystical tendencies, and the author of the great unfinished experimental novel, The Man without Qualities. Ludwig Wittgenstein (1889-1951) was an Austrian philosopher whose thoughts on logic, mathematics, language and ethics have been extremely influential in both philosophical and artistic circles. He is the author of the Tractatus Logico-Philosophicus (1921) and many unfinished works, including Philosophical Investigations.

Disclaimers: 1. I do not pretend to be an expert on Wittgenstein. These, my observations, come from a mere few years of study of a philosopher who deemed that even his closest peers did not understand him. By comparing my interpretation of his ideas to those of Robert Musil, I am merely suggesting connecting strands, and possible shared concerns, and generally avoiding here (in the interest of space and time) the very real and complex differences between their world views. 2. Since I have spent decades studying and writing about Musil, I have concentrated mostly on Wittgenstein in this essay, assuming a general knowledge of Musil which is probably quixotic at this point in his ill-fated English-language reception. Hopefully the hints and references to his ideas and works will lead the reader back to the primary sources and also to my more thorough treatment of things Musil in my book, The World as Metaphor in Robert Musil’s &c.,&c. . 3. This essay could only be “completed” if I allowed it to be just that—an essay, or “essai,” a trial, and not at all a finished work of writing. It is an attempt to pull together many, many related but still insufficiently synthesized ideas. It will take a lifetime to get all of this into some truly presentable shape.

— Genese Grill

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“Necessity is nothing but Existence, which is given through the Possibility itself.” — Immanuel Kant,
The Critique of Pure Reason

“It is reality that awakens possibilities, and nothing would be more perverse than to deny it. Even so, it will always be the same possibilities, in sum or on the average, that go on repeating themselves until a man comes along who does not value the actuality above the idea. It is he who first gives the new possibilities their meaning, their direction, and he awakens them.” — Robert Musil, The Man Without Qualities

“It is clear that however different from the real one an imagined world may be, it must have something—a form—in common with the real world.” — Ludwig Wittgenstein, Tractatus Logico-Philosophicus

“Thought is surrounded by a halo—Its essence, logic, represents an order, in fact the a priori order of the world: that is, the order of possibilities, which must be common to both world and thought…prior to all experience [this order] must run through all experience; no empirical cloudiness or uncertainty can be allowed to effect it—it must rather be of the purest crystal…” — Ludwig Wittgenstein, Philosophical Investigations

One of the most troubling challenges of living in what is nowadays assumed to be a relativized subjective universe is never knowing for sure whether what one sees, understands, or experiences is the same as what someone else sees, understands or experiences. What once was conceived to be solid shared reality, describable with definable words and measurable by standardized tools, has, since Kant (and, over the next century, in the wake of Einstein, Darwin, Nietzsche, and Freud), been deemed increasingly fragmented, uncertain, and relative. After philosophers spent centuries wrestling with the question of what could be known about the world and the related question of what, in fact, reality is, with or without the intervention of the subjective experiencer, the so-called “linguistic turn” in twentieth century philosophy took this question a step further by concentrating on the role played by language in describing, creating, delimiting, or expanding our experience and knowledge of the real. Modernist art and literature wrestled with these problems of knowing and communicating and earnestly strove to find ways to build bridges between the individual alienated person and the shared world of nature and culture. To put it simply, Kant was looking at the limits of thought; Wittgenstein at the limits of language. But both were concerned with the way philosophy had hitherto claimed to know or say certain things (of a metaphysical sort) that in their opinion could not be known or spoken of with certainty. Despite these reservations about the possibility of knowing or speaking certain things, neither Kant nor Wittgenstein rejected the realms of ethics or metaphysics as valuable aspects of experience.[1] And Musil made it even more clear than Kant and Wittgenstein (through his experimental fiction; through showing, not theorizing or merely saying) that aesthetics was the realm wherein one could begin to know, experience, and articulate those things which could not be grasped otherwise. He called this realm the realm of essay, of the ethical, of the aesthetic, of the other condition, and, despite his training as a mathematician and scientist, despite his tendency toward philosophical precision, he valued this realm above all others, choosing to write a novel rather than a scientific treatise for reasons with which Wittgenstein would probably have concurred. But the philosophical question of what could or could not be known of the shared world of phenomenon, and, thus, expressed in language (what kind of language became a heated question in Modernist poetics) haunted writers in the early twentieth century.[2]

Another philosophical conundrum discussed by Kant and then revisited by Modernist thinkers was the related question of ethics and the nature of the willing, determining self. For Kantians, as Anthony J. Volpa notes in his biography of Fichte, “At issue was whether selfhood as autonomous agency was an illusion and indeed whether the very notion of an integral self dissolved if the individual was merely one more object in a web of causes” (46). A hundred years later neo-empiricists like Ernst Mach (whom Musil critiqued and praised in his doctoral dissertation) were definitively denying the nature of the integral self and casting doubt on the individual’s ability to determine his or her shared reality—for quite other reasons and with quite other consequences than earlier thinkers. While in Kant’s time the debate was one between a divine determinism and the free will of the ethical individual, in contemporary philosophy the debate is between a random chaos or a mechanistic universe and a treacherous social construction wherein the individual plays no meaningful role. What exercised Musil and Wittgenstein was the quest for some direction for individual ethical behavior; and the search for some conduit to meaning amid the increasing fragmentation and uncertainty. In contrast to the abstract philosophizing of many logicians, Musil and Wittgenstein were, like the transcendentalists before them and the existentialists to follow, engaged in exploring philosophical questions that could help human beings figure out how to live.

320px-Klagenfurt_-_Musilhaus_-_Robert_MusilDepiction of Musil at the Musilhaus in Klagenfurt

According to Allen Tiher, in his Understanding Robert Musil, “Musil saw no place for human concerns in Mach’s limited positivism…in critiquing Mach he was already thinking of science’s uses for humanity…[Musil was] troubled by Mach’s idea of truths as mere fictions…” (34). Tiher goes on to say that Musil’s critique of Mach in many ways works as a critique of Wittgenstein’s belief that language could only depict the substance (not the core) of reality (“propositions mirror the exact part of facts, though nobody could ever point to exactly what they might be…all that can be meaningfully said is what can be mirrored in propositions in language”) (Tiher 42). Musil wanted to at least consider the possibility of knowing the thing in itself, whereas Wittgenstein may have been more skeptical about such certainty. Yet Tiher also points to commonalities between Musil and Wittgenstein, noting that both “yearned for a reality beyond the limits of positivist propositions and functional relations” (42). Both Wittgenstein and Musil “reacted to Mach’s limitation of knowledge to the realm of functional relations” (42). Wittgenstein wrote in the Tractatus, 6.52 “We feel that even if all possible scientific questions have been answered, the problems of life have still not been touched at all”. Tiher concluded that “Both conceive of aesthetics as a ‘showing’ of ethics, and of ethics as the realm where values are as real as any other aspect of reality” (43).

Early twentieth century Machian positivism inspired a new set of concerns for contemporary artists, writers, and philosophers, who were struggling with what they called a crisis of language (like the Kantkrise of an earlier generation of artists) amid a greater crisis of values. Did the breakdown of some certainties mean that anything was possible? Or rather nothing? Or were there natural parameters or boundaries, some sort of a priori order to things?[3] In the wake begun so long ago, today many heirs of two generations of skeptical inquiry err on the side of a radical openness and relativity of values to which Kant, Wittgenstein, and Musil would not have subscribed.

Many 20th century thinkers and artists, following the spirit if not the law of Kant’s ethical aesthetic imperative, believed earnestly in the possibility of redemption through art and an ethical conduct of life born of the friction between experimental empirical assessment and some sense of essential but shifting truths, between personal and shared reality, between repeating patterns and new arrangements, and between established archetypes or forms and new metaphors and synthesis—in short, in a kind of proto-aesthetic existentialism, whereby the artist and thinker expands the possibilities of the real (through seeing for the first time what was always there)without denying reality’s concrete parameters. These thinkers and artists were dealing with a struggle between necessity and arbitrariness, a priori truth and creative agency, asking such question as: What do we have agency over, what not? And how do language and art function in this interchange between what is necessary and what is possible or even merely constructed? How does the word or image “make” the world (as Musil and Wittgenstein suggest repeatedly), how does language respond to the world, answer the world? Is it like a call and response? A mirror, a warp, a description or re-creation? A betrayal, a social construction, a deception? Are certain facets of reality best described by showing, not naming, as Wittgenstein suggested and Musil modelled? Or is it impossible to know, and then impossible to describe or communicate at all?

While it has been the fashion for the last half century at least among sophisticated theorists and artists to maintain that nothing whatsoever can be determined, communicated, named, or delimited, past masters of precision and soul were capable of carefully examining what in fact still remained in the shared universe that could be established to be repeatable, certain enough, objectively measurable, and to what extent language could in fact be used to communicate not only what was solid, but even those more tenuous shifting internal subjective states that made up so much of the content of the art and literature of the psychologizing 20th century. The distinction between a world where nothing at all can be determined and one in which only certain things can be has been too often slurred over. The difference between a world wherein language means nothing and one in which language can approximate and approach meaning is considerable; and it takes patience and daring to dwell in this uneasy borderland, exemplified by Robert Musil and Ludwig Wittgenstein.

ludwig-wittgenstein-nacido-en-viena-austria-1889-fallecido-en-cambridge-reino-unido-1951-125700_w1000Ludwig Wittgenstein

These two thinkers lived almost side-by-side on Rasmofskygasse in Vienna for about a year sometime between 1920 and 1921, possibly without ever making each other’s acquaintance. They were both snobs who craved discourse; both were scientists who had more faith in art than in philosophical logic; both were individualists who were suspicious of collectivism and resisted joining groups or being categorized into positions or ideologies[4]. They both rejected externally-imposed morals and social judgments in favor of a personal rigorous ethics and conduct of life. They both had ambivalent relationships with the scientific positivists of the Vienna Circle. In contrast to the members of this circle, both wanted to connect philosophy and science with aesthetics and ethics and make it meaningful for human life[5]. Both resisted theory in favor of experimental empiricism. Both had mystical experiences as soldiers in World War One, leading to puzzling relationships with something they both sometimes called “God”; both were mathematicians suspicious of mathematics; both were engineers and inventors; empiricists and idealists; pragmatists and utopians. Both looked to anthropology to present alternative possible ways to live; both loved Dostoevsky; both worked and wrote in a non-linear,[6] inter-disciplinary fashion; both liked to go to the movies. Both of them were obsessed with using language precisely; but both rejected language skepticism, while acknowledging the limits of language and knowledge; and both saw metaphor as the best possible mode of expressing certain experiences and truths. Both were so committed to the experimental method and a resistance to closure or final solutions that they were almost pathologically unable to finish their works. They are exemplars of a special breed of idealist-realists—a group of people who throughout history have simultaneously hugged the surface of the real “what is” while reaching for the ideal “what could be”; thinkers who have labored to establish what can and cannot be known or spoken, thinkers who have eschewed what Musil called “Schleudermystik” (wishy-washy mysticism) and Wittgenstein called “transcendental twaddle,” and, at the same time, kept at bay a nihilistic relativism or void of all values. (Other thinkers in this cadre include Thoreau, Blake, Novalis, and Nietzsche).

(c) Bridgeman; Supplied by The Public Catalogue FoundationThe Rasumovsky Palace, Vienna, Corner of Rasumofskygasse and Geusaugasse, by Carel Victor Morlais Weight

To harbor some belief in a repeatable recognizable shared reality and a language that serves well enough to communicate what we think, want, and care about is to fundamentally take responsibility for our place and agency in the world. The opposite tends toward an adolescent “whateverism” wherein everything cancels itself out and wallows in bankrupt cynicism. In contrast to this hollow sophistication, Wittgenstein and Musil are related to the transcendentalist age of self-improvement and both earnestly struggled with determining what was the right way to live. Their “sense of possibility” (Musil’s phrase) and skepticism about social conventions and abstract propositions about right and wrong was not the same as absolute license, total openness, or self-indulgence. Looking back to Wittgenstein and Musil, we find an alternative to the total relativity of values and vacuum of meaning—a veritable model of existential responsibility and an ethics grounded in a complex analysis of what can and cannot be known, expressed, or experienced—an ethics, in short, grounded in aesthetics. Ironically, the refusal to accept any shared reality today in some philosophical circles has led to a situation similar to the age of faith. While in the latter the realm of truth was found in scripture or metaphysics, in both cases truth is not recognized in the real exigencies or material experience of life. In both cases truth is an abstraction, although in one this abstraction is to be mistrusted while in the other it is to be uncritically believed. High Modernism marked out a middle zone between skepticism and non-critical acceptance of abstract generalities and ideals. This middle zone is difficult to navigate, but it is imperative that we abide here in uncertainty to catch the shirt tails of agency as reality flies past our subjective indifferent gaze.

We have come so far from that comfortable pre-Kantian world of shared beliefs, and we have heard so much skepticism about shared reality that we have almost become blind to the palpable real that is right in front of us, to the facts of our shared existence—birth, death, seasons, dusk, bodies, beauty, the night sky. Many contemporary theorists would have us scoff at the possibility of experiencing anything real at all, or at the possibility of using words to describe what we feel or see. But they must be blind themselves, and lacking fundamental sense organs, to arrive at such a bankrupt state of existence wherein nothing at all is real and no combination of words can resonate with an external or internal event. I have a young friend, so steeped in the allurements of this “philosophy” (it should be called love of no-truth, not love of truth, since, according to its basic tenets there is no truth to love) that he feels the need to create a new mythology, a trumped-up mythological meaning, since there is, he fears, no real one anymore. But wait! There is still meaning, there is still a real world, and words can still be used to celebrate and lament it! And this meaning will come from our sensual, aesthetic, experiential contact with the real, mediated through the mind, the senses, language, and images, the only tools that we have. Herein we may have some glimpse of the meaning behind the pronouncement (which we find in both Musil and Wittgenstein) that “ethics and aesthetics are one”. For aesthetics does not merely connote fantasy and fiction but sense experience, a living palpable conduit between the abstracted mind or pen and the real breathing, smelling, scintillating, churning world. How we see and experience and the way in which we formulate what we see and experience depends on sensations, formal arrangements, and the process and poetics of space, time, and shifting perspectives. And these perceptions determine our actions and judgments about how to live.

Wittgenstein is thought to have changed his ideas on the relationship between language and reality in between his writing of the Tractatus and the Philosophical Investigations, maintaining later that language is not necessarily a picture of the world, but, rather, that language determines what we see and, in effect, makes our world. But neither position is based on a radical separation between the mind as language-maker and the reality that it attempts to describe. Instead, it is a matter of interpreting, and expanding or limiting (waxing and waning, to use Wittgenstein’s terminology), our perspectives. According to David Pears, Wittgenstein, “abandoned the idea that the structure of reality determines the structure of language, and suggested that it is really the other way around: our language determines our view of reality, because we see things through it” (13). As my friend Dharman Rice put it, Kant’s theories suggest that the mind is not a camera simply recording what is out there, but rather has something to do with choosing, selecting, and arranging the phenomena it encounters. According to Kant, phenomena are transmitted or filtered through transcendental schema or structures of the mind (space, time, etc.); according to Wittgenstein, this arranging occurs through the process of language use. I scoured Kant in vain to find an answer to the question of whether this means that what the mind sees is an illusion, I could find no definitive answer (probably because it is the wrong question. Kant is not concerned with what is or is not there, but rather to what extent we can determine it). It seems to me that he does not assume that the filtered view is false. It is merely filtered. The same seems to be true for Wittgenstein. What changes in between the Tractatus and The Philosophical Investigations then is not Wittgenstein’s conclusion about a priori reality, but his process of arriving at a conclusion at all. In fact, one could say that there are really no conclusions, only a process. While in the Tractatus he relied heavily on what he came to see as a priori givens or logical abstractions, in the Investigations he is modelling a process of experimental empiricism, a method quite close to Musil’s aesthetic of experimental essayism, one which resists theory and final conclusions in favor of what Musil would call “partial solutions” or the “utopia of the next step”.

According to Ashok Vohra in his Wittgenstein’s Philosophy of Mind, this process is not a refutation of realist philosophy, although a realist might consider it to be. Wittgenstein,

[M]aintains that acceptance of any proof is an act of ratification which is independent of any previous acts of ratification. Nothing that we have done in the past forces us to ratify, or to withhold ratification from the proof which we are now being offered. This sounds absurd, because we naturally assume that the meanings of the terms used in the proof of the would-be theorem or equation must have been fixed in advance. But what Wittgenstein is suggesting is that their meanings were not completely fixed in advance, and that their full meanings accrue to them bit by bit when the later ratifications are made or withheld. (136)

In other words, the human mind continually participates in making and acknowledging a shifting changing world. This is an alternative to the chicken and egg question of whether the mind makes the world or the world the mind. The answer to the riddle is that the mind and the world constantly work together to fashion a meaningful approximation of reality. Further, of course, the mind is a part of the world, a part of nature, and thus should not be so very different from what it sees and records as to prohibit correspondence!

Immanuel_Kant_3Immanuel Kant

C. N. Wilson explains in his book, God’s Funeral, that Kant “was trying to marry the twin truths: namely, that by the very process of perceiving and knowing, we invent our world; and also that this world has a reality of its own.” In a note, Musil summarizes the paradox: “Kant: Concepts without observation are empty. Observation without concepts is blind” (Mann ohne Eigenschaften, 1820). In another formulation he explores the question of how the phenomenological world interacts with the human mind: “In truth, the relationship between the outer and the inner world is not that of a stamp that presses into a receptive material, but that of an embosser that deforms itself in the process so that its design can be changed into remarkably different pictures without destroying its general coherence” (Mann ohne Eigenschaften, 1435). In a conversation about ideality and reality with some high school students from The Walden Project here in Vermont, two of them came up with a marvelously helpful image: the ideal is like a light shining on the real, but it has to be plugged in to the real to shed light in the first place. The real, without imagination, ideas, dreams, or light, is nothing but a mechanical mass; the ideal, without the real, would have nothing to shine on.

In answering the related questions of what is determined and what determinable, or what is essence and what existence, what transcendental and what existential, or how much do our perceptions contribute to shared reality (beyond doubts about knowing the thing in itself), both Musil and Wittgenstein were pragmatists of sorts, who believed that we know the world well enough to avoid burns, bumping into tables, walking into walls, and well enough to understand basically the words others use. They also, as scientists, must have seen that the mind was not separate from Nature in some Cartesian sense and that such a natural structure or lens would probably see in a fashion more or less consistent with the reality of nature. As David Pears writes, describing Wittgenstein’s general perspective, “When the field [of observation] is extended to the limit, there does not seem to be any possibility of discovering that thought and reality might fail to fit one another[…]. [T]he fact is that in certain general ways thought and reality must fit one another”.[7]

Prop 5.6—5.641 of Wittgenstein’s Tractatus states: “The world is my world’, ‘I am my world. (The microcosm)” and “The subject does not belong to the world; rather it is the limit of the world’. But this need not contradict his emphasis on what Thoreau would call “fronting the real”. This is, in effect, the same paradox of Emersonian Self-reliance and the Kantian categorical Imperative and its subsequent iteration in existentialism: what is true for me is true for all men; what I do determines what others do; existence precedes essence. Our actions change the world; our perceptions expand and contract it; reality waxes and wanes depending upon the words we use to describe it; but that doesn’t mean that we change the basic coordinates of nature. Proposition 3.032 states: “One can depict something that contradicts logic in language just as little as one can present a figure in geometry whose coordinates contradict the laws of space; or give the coordinates of a point that does not exist.” And, again, in proposition 3.033, we read: “One used to say that God could create anything except something that contradicted logical laws— in other words, we couldn’t say what an illogical world would look like.” And yet, certain strictures, like grammar and some mathematical rules, are arbitrarily limiting. And there are socially-constructed morals and prejudgments that inhibit a fresh experience of the real. These must be resisted and continually tested. Musil wrote: “The period and the semicolon are symptoms of stasis. We don’t make them because we learned to, but because that is how we think. And that is the danger in them. As long as one thinks in sentences with end stops, certain things cannot be said; at most they can be vaguely felt. Infinite perspectives (moving inward) would have to be expressed like infinite rows” (Notebooks II, 822). As such, the way we use language to talk about our world can limit or open up what possibilities we see in it.

Perhaps the answer to the alleged problem (Wittgenstein would probably say that there is not even a problem to begin with!) is that knowledge of reality does not comes solely from empirical experience (as opposed to a priori essence), but that it comes from a process of synthesis and the constant creation of fresh, repeating—not rigid and unexamined—metaphor. A metaphor which, chez Wittgenstein, always points outside itself by virtue of its very nature as metaphor. Both Wittgenstein and Musil repeatedly make the distinction between living language and dead cliché, and this distinction is linked to their common cause of experimental empirical ontology and the processes called, respectively, the utopia of the next step (Musil) and re-ratification (Wittgenstein), whereby nothing is certain until one takes into consideration what comes next, or, until one re-tests it within new circumstances. Musil writes: “Living word full of meaning and correspondence in the moment, bathed in will and feeling. An hour later it says nothing although it says everything that a concept contains.” And Wittgenstein writes in his Philosophical Investigation, “Every sign by itself seems dead. What gives it life?–In use it is alive. Is life breathed into there?—Or is the use its life?” (432e).

Instead of adhering to one polarization of the empiricist/Platonist spectrum, Wittgenstein (like Musil and Nietzsche too) posits another kind of process of world-making (one that acknowledges a reality outside of abstraction, language, and theory), one which involves a conscious awareness of our use of language and image to create a good deal of what we consider reality and truth. The trick, as Nietzsche explains in his “On Truth and Lying in a Supra-Moral Sense,” is to never forget that the metaphors which we invent to describe and see the world are not rigid absolutes in themselves, but rather living, self-generating, shifting approximations or, to use Wittgenstein’s term, “family resemblances” rather than exact representations— likenesses, overlapping commonalities.

Although there are multifold possibilities of how language may be used to describe reality, there are not infinite possibilities. There are limits; and these limits are the limits of logic, reality, nature, experience and shared human and social life. And these limits have very important consequences in Musil’s and Wittgenstein’s world views for determining a conduct of life. In fact, both of these individualistic—one might even say anti-social—thinkers, were deeply concerned with questions of society and the problem of solipsism. Wittgenstein’s rejection of the idea of a private language is one answer to the Modernist question of artistic solipsism, and touches on a central problem never solved by Musil: how might the mystical experience of “the other condition” depicted in his unfinished novel expand from the private specialized realm of two people to become a social utopia for the many? And how do his insane characters (Clarisse and Moosbrugger) serve to both destroy and invigorate common language with their private idiolects (Clarisse, in one very Wittgensteinian scene in the Nachlass chapters of the novel, tries to remove the meanings from words by taking them out of their natural order, by repeating them, by underlining them). One of Wittgenstein’s answers to the problem of solipsism is his conclusion that, as Vohra writes, “the real relationship between words and physical phenomena is not contingent but essential, and that language is not the product of one person, but has evolved with human life” (6). Although we do have private (i.e., nontransferable) sensations, they are stimulated by public, shared phenomena (the objects of observation) (Vohra 16-17). The necessity of communicating with others is served by a union of aesthetics and ethics, requiring an awareness of reality taking the special case into consideration rather than an abstract impersonal morality. Individual responsibility is born in each new moment— in concert with others. As opposed to an alienated despair or nihilism about the ability to ever share values, ideas, goals with others, Kantian, Wittgensteinian, Musilian individualism breeds ethical consciousness when it includes other-directed awareness. Anti-individualistic collectivism, on the other hand, can be the seedbed of a lack of self-responsibility. In the Philosophical Investigations, Wittgenstein suggests that the problem with the idea of private language is its lack of practical social consequences. A private language is like one’s right hand giving one’s left hand money (80) or the absurdity of a person giving “himself a private definition of a word” (80). What would understanding be, what consistency? It would be, Wittgenstein writes, like “… a wheel that can be turned though nothing else moves with it, is not part of the mechanism” (81). “Imagine,” he continues,” someone saying: ‘But I know how tall I am!’ and laying his hand on top of his head to prove it” (82).

There is a real world outside of or in correspondence with the mind, and its parameters do limit and guide what can and cannot be correctly said. Wittgenstein “holds the view that one who attempts to use a private language not only fails to communicate his meaning to others, but also does not have a meaning to communicate even to himself; in other words, he does not succeed in saying anything at all” (Vohra 38). Sensations, while they can be kept private, are communicable (Vohra 52). A private language is category mistake, according to Wittgenstein, that ignores the social nature of language. Language is a set of activities, and practices, defined by certain rules, and uses, “a form of life” (Vohra 66). As such, the individual has a social and ethical responsibility to use language in a way that corresponds to a shared social reality. While today some theorists might see this as a treacherous crime, or a sort of social coercion applied to the idiosyncratic non-contingent mind, Wittgenstein and Musil probably saw it as a pragmatic and workable means to attempt to communicate ideas and feelings. People who imagine Wittgenstein as the patron saint of silence and the impossibility of communication may be surprised to read this rather characteristic statement from the Philosophical Investigations: “The sign post is in order—if, under normal circumstances, it fulfils its purpose” (35 e). Inexact, he suggests, does not mean unusable.

And while Musil too (following Nietzsche’s metaphor theory in On Truth and Lying) is clear about the fact that metaphors are inexact, that, in fact, every time we make a metaphor we are perpetrating a sort of crime against the true differentiation of each entity or idea, he is equally clear that this process of inexactitude and imprecision is just what humans must do in order to bring “beauty and excitement” into the world. Making metaphors is a form of human-generated, reality-generated meaning-making which continually resists ossification, cliché, and fixed ideas. It is an ethical and aesthetic process of existential engagement in expanding (without denying) the boundaries of the real, of nature, of truths in their varied, shifting relativity. And this expansion of boundaries—what Wittgenstein called waxing—works in tension with the constriction of the already known and accepted, the already established conventions (a waning), as well as with the eternally reverberating archetypal and naturally recurring realities of shared human life (trembling aliveness of ancient energies). In the Tractatus, Wittgenstein writes: “6.43 If good or bad willing changes the world, it can only change the limits of the world, not the facts; not the things that can be expressed in language…. In brief, the world must thereby become quite another. It must so to speak wax or wane as a whole.”

All philosophical theories are rooted in pictures (metaphors); and every already-known picture must be continually uprooted by the introduction of a new picture, a new metaphor: once a simile or metaphor has been accepted, it is too often taken for granted, no longer seen as a picture but taken as a reality or an exact representation. The creation of new metaphors is necessary not only for the successful creation of new meaningful art objects, but, moreover, for the enlivening and generation of ethical life through living language and living forms. Wittgenstein writes: “The means whereby to identify dead forms is Mathematical Law. The means whereby to understand living forms is analogy” (qtd. in Monk, 302). Monk glosses: “In understanding ethics, aesthetics, religion, mathematics and philosophy, theories were of no use” (304). In lieu of theories then: art, the realm of the individual case.

Each poetic pronouncement or artistic expression is at once a free act, individual voice, new note, an addition to and a conversation with, response to, answer to what has already been. And it can only be understood within such a linked context of history, cultural discourse, and shared experience of the world and its cultural products. Rampant skepticism, anti-intellectualism, and obfuscation lead only to careless, speechless, inarticulate grunts and irresponsible confused beings. Art, again, is often the best medium for communicating what cannot be shared otherwise and it models a process of generative re-visioning and a creative tension between what is and what can be, between the abstracted whole and the individual unique non-repeatable experience. Wittgenstein writes: “We speak of understanding a sentence in the sense in which it can be replaced by another which says the same; but also in the sense in which it cannot be replaced by another. (Any more than one musical theme can be replaced by another.) In one case the thought in the sentence is something that is expressed only by the words in these positions. (Understanding a poem.)” The use of poetic language, the ongoing conversation of form and image is a fruitful correspondence between particular individualized once-in-a-world empirical experience and a store of family resemblances, likenesses, and shared cultural and natural reverberations.

While sometimes the most valuable aspects of these human experiences (shared or alienating as the case may be) cannot be easily imparted, what can be shown but not said (in art rather than logic) is nevertheless sometimes stammered (one tries to say it, denotes it, suggests it, points to it) before it disappears. As Kafka wrote, “Truth is the light on the shrinking grimacing face”. We try to bring the wordless phantoms up from the depths or catch the rush of a flying experience of nature with words that are all too clunky, all too general. But they serve. They have to serve. And sometimes they serve brilliantly.

Wittgenstein apparently saw himself as “a disciple of Freud because of Freud’s use of similes: ‘It’s all excellent similes’, he said in a lecture on Freud’s work; and of his own contribution to philosophy: ‘What I invent are new similes’” (Monk 357). And Wittgenstein’s late philosophical technique even seems a bit like the technique of modernist fiction. The playing of “language games,” according to Monk, was a “method of inventing imaginary situations in which language is used for some tightly defined practical purpose. It may be a few words or phrases from our own language or an entirely fictitious language, but what is essential is that, in picturing the situation, the language cannot be described without mentioning the use to which it is put. The technique is a kind of therapy, the purpose of which is to free ourselves from the philosophical confusions that result from considering language in isolation from its place in the ‘stream of life’”(330). Wittgenstein’s anthropological approach has a good deal in common with the process by which fiction helps us to think about ourselves and our social assumptions by presenting alternative or slightly oblique visions of reality. This is, of course, a technique which Musil utilized expertly. Monk’s description of Wittgenstein could be a description of Musil the possibilitarian whose protagonist Ulrich was always imagining how things could be different; who was working on a utopian novel imagining all sorts of different ways to live; and whose short prose piece “Cannibals” describes a society of flesh eaters in a way that mirrors our own moral justifications for things that might be seen as aberrations: “By imagining tribes with conventions or ways of reasoning different to our own, and by constructing metaphors different to ones commonly employed, [Wittgenstein] tries to weaken the hold of certain analogies, certain ‘similes that have been absorbed into the forms of our language.’ He attacks, for example, the Platonism that regards logical propositions as analogous to factual propositions. ‘Isn’t there a truth corresponding to logical inference?’ he makes his interlocutor ask. ‘Isn’t it true that this follows from that?’ Well, replies Wittgenstein, what would happen if we made a different inference? How would we get into conflict with the truth? […]The point here is that the criteria for correct or incorrect reasoning are not provided by some external realm of Platonic truths, but, rather, by ourselves, by ‘a convention, or a use, and perhaps our practical requirements’” (Monk 381).

Wittgenstein’s new method in Philosophical Investigations rejected the earlier essentialist method of the Tractatus as metaphysical. His theories, he deemed, did not match real language or real experience (Pears 105-7). The generalizations arrived at intuitively were not results of empirical investigations…and, “he had wrongly assumed that the multifarious uses of language must have a high common factor [a generalized abstraction]. The truth was more complex: each resembled each other in many ways [family resemblances]” [and thus, he] “turned his investigation onto the multifarious differences” (107). Wittgenstein’s new method mirrors Musil’s:  “[I]t is empirical…it shows great respect for the particular case and …it is more like art than science, because the nuances of particular cases are not caught in any theory, but are presented in careful descriptions of actual linguistic practices…”(105).

Such an experimental method is actually a conduct of life—one requiring an open-endedness resistant to closure or absolute solutions. Demanding, in fact, a constant new re-visioning of fresh circumstances and combinations and a radical skepticism about received ideas and established categories. Wittgenstein’s work method was quite a lot like Musil’s, whose Nachlass is thousands of pages of versions, alterations, notes, sketches, and cross-references. Wittgenstein, according to Monk, would begin by writing remarks in a notebook; then he would select the best of these, write them out, “perhaps in a different order, into large manuscript volumes. From these he made a further selection, which he dictated to a typist. The resultant typescript was then used as the basis for a further selection, sometimes by cutting it up and rearranging it—and then the whole process was started again. Though this process continued for more than twenty years, it never culminated in an arrangement with which Wittgenstein was fully satisfied, and so his literary executors have had to publish either what they consider to be the most satisfactory of the various manuscripts and typescripts…” (Monk 319).

The work of philosophy, the work of the artist, in Musil’s and Wittgenstein’s sense, is a job with no end. One can never arrive at a conclusion. Monk explains: “This conception of philosophy, which sees itself as a task of clarification that has no end, and only an arbitrary beginning, makes it almost impossible to imagine how a satisfactory book on philosophy can be written. It is no wonder that Wittgenstein used to quote with approval Schopenhauer’s dictum that a book on philosophy, with a beginning and an end, is a sort of contradiction” (326). Musil, who never finished his magnum opus, would have concurred. In fact, as long as one lives, the work of being a human being is likewise an open experiment. We can never rest, but must always strive for the utopia of the next step, ever re-ratifying what we thought we once knew. “Ethics and aesthetics are one.”

— Genese Grill


Genese Grill

Genese Grill is an artist, writer, German scholar, and translator living in Burlington, Vermont. Her first book, The World as Metaphor in Robert Musil’s ‘The Man without Qualities’: Possibility as Reality (Camden House, 2012), explores the aesthetic-ethical imperative of word and world-making in Musil’s metaphoric theory and practice and celebrates the extra-temporal moment of Musil’s “Other Condition” as a transformative aesthetic and mystical experience informing a utopian conduct of life.

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Footnotes    (↵ returns to text)

  1. Wittgenstein speaks of a certain kind of experience, similar to Musil’s mystical “other condition,” in which “I wonder at the existence of the world. And I am then inclined to use such phrases as ‘how extraordinary that anything should exist’…another experience…the experience of feeling absolutely safe. I mean the state of mind in which one is inclined to say, ‘I am safe, nothing can injure me whatever happens’”. Monk writes that Wittgenstein “went on to show that the things one is inclined to say after such experiences are a misuse of language—they mean nothing. And yet the experiences themselves ‘seem to those who have had them, for instance to me, to have in some sense an intrinsic, absolute value’. They cannot be captured by factual language precisely because their value lies beyond the world of facts” (qtd. 277).
  2. In my book, The World as Metaphor in Robert Musil’s “The Man without Qualities,” I wrote:

    Hofmannsthal’s “Lord Chandos Brief” gave voice to the modernist skepticism about the ability of logical or literal language to express subjective experience; but Wittgenstein provided a theoretical framework for articulating individual emotional and ethical experiences through the poetic image (that is, metaphor) rather than through dialectical rational language. What philosophy and science could not describe or explain might be approximated through the realm of art. The work of art, alongside its associated realm of ethical thinking, is marked out as a realm especially conducive to the expression of particulars, and thus escapes the inherent inaccuracy and generalization of rational and scientific conceptualization or logical abstraction. On the other hand, the selection process necessary for art makes it a form of abstraction as well, and as such it is capable of presenting illusions of completion and harmony. Marjorie Perloff, in her book Wittgenstein’s Ladder, wrote: “Wittgenstein would have had no answers to these and related questions. On the contrary, his writing of ‘philosophy’ as if it were ‘poetry’ dramatizes the process of working through particular questions so as to test what can and cannot be said about literary forms (e.g., poetry), concepts (e.g., barbarism), and facts of life (e.g., death)” (i)

  3. In The World as Metaphor, I wrote: “Wittgenstein wrote that the central question that exercised his entire life’s work was: “Is there, a priori, an order in the world, and if so, of what does it consist?” What, in other words, is the nature of the order of the world and what is the role of the human subject in maintaining, producing, destroying, or rebuilding our shared reality? And while the easy answer is that Wittgenstein negated the possibility of an a priori reality, declaring instead that humans construct their shared reality out of language and perception, the fact remains that in many pronouncements he suggests that there might actually be such an “essence of the world,” one that we simply cannot access or express. “What belongs to the essence of the world,” he writes, for example, “cannot be expressed by language” (31). Making meaning of the world, whether through discovery of, or invention of, patterns and recurring forms, seems to be a requirement for survival, an aesthetic operation conducted upon possible random chaos to make life bearable. Gunter Gebauer explains, quoting Wittgenstein: “Only if we see the world in the proper perspective are we filled with ‘enthusiasm . . . (But without art, the object is a piece of nature like any other’); this occurs through a particular method of description. With the help of the art of description, the wonderful side of the world can be grasped” (35). Conversely, Gebauer continues, “Wittgenstein also knows the moments in which he loses this vision of the world,” when he has, “‘done with the world,’ he has created an amorphous (transparent) mass, and the world in all its variety is abandoned like an uninteresting junk closet” (34–35). This description is eerily reminiscent of many of Musil’s descriptions of a world miraculously flooded with, and just as suddenly drained of, meaning. In keeping with Musil’s constant allegorical comparison of world and word, this process of meaning and meaninglessness is most often described by him as the difference between living and dead words. The living word, like the living world, does not mean anything definite or fixed, but is imbued with meaning by the creative subject. The dead word, or “concept,” like the petrified world of received ideas and unexamined “facts,” is always the same word/world, no matter what one brings to it”.
  4. “The search for essences is, Wittgenstein states, an example of ‘the craving for generality’ that springs from our preoccupation with the method of science…’The tendency is the real source of metaphysics, and leads the philosopher into complete darkness”…”Wittgenstein’s avoidance of this tendency—his complete refusal to announce any general conclusions—is perhaps the main feature that makes his work difficult to understand, for without having the moral pointed out, so to speak, it is often difficult to see the point of his remarks”. Ray Monk. Ludwig Wittgenstein, The Duty of Genius, 338.
  5. Wittgenstein gave this explanation of the anti-positivist intentions of his Tractatus in a popular lecture to the “Heretics” club: “My whole tendency and I believe the tendency of all men who ever tried to write or talk on Ethics or Religion was to run against the boundaries of language. This running against the walls of our cage is perfectly, absolutely hopeless. Ethics, so far as it springs from the desire to say something about the meaning of life, the absolute good, the absolute valuable, can be no science. But it is a document of a tendency in the human mind which I personally cannot help respecting deeply and I would not for my life ridicule it…” (qtd. in Monk, 277).
  6. Philosophical Investigations. Foreword: “My thoughts were soon crippled if I tried to force them on in any single direction against their natural inclination—and this was, of course, connected with the very nature of the investigation. For this compels us to travel over a wide field of thought crisscross in every direction…The same or almost the same points were always being approached afresh from different directions, and new sketches made…” (ix).
  7. David Pears, Ludwig Wittgenstein, Viking Press, 1970, 31.
Jan 112015
 

IMG_0002Michael and Kate


PART I (June 2014)

Two years ago I wrote an essay on returning to reading following the death of my wife. She was forty-four. We’d been married four years and nine months. She had breast cancer for twenty-one months. She left me with two kids (eight and eleven) and an ex-husband to negotiate. More accurately, she left her ex-husband with two kids and a second husband and step-parent to negotiate.

I intended to follow up my essay a year later with another on reading through grief, but I couldn’t manage it. The flow of grief left me unsettled to the extent that I never felt secure enough to speak. Never felt grounded, is what I mean. How could I write an essay on anything when every time I tried to put my thoughts together they shifted? Also, I had wanted to write how, one year later, I had “read through” grief, and about how I was now on the other side looking back. Except I wasn’t on the other side. Not only did I feel nowhere near the other side, I felt increasingly in ever deeper, ever more tumultuous water. For eighteen months, I felt concussed. And when those symptoms relieved, I felt something worse.

The grieved get used to people asking, “How’s it going? Better?” Things are supposed to get better. We have clichés for that. Time heals all wounds. We all know about the stages of grief. Denial. Anger. Sadness. Acceptance. As a grieved person, you are granted a certain leeway to be crazy. Emotionally overloaded. Out there. Behaving irrationally, unpredictably, outside the norm. And then you are supposed to “get over” all of that. You are supposed to acknowledge that folks have “allowed” you this period of disrupted expectations. You are supposed to be grateful how everyone has been “there for you,” which they have been, on the whole, even if it really seems that all anyone has really done is try to wait you out. Wait for you to declare, “I’m back.”

Early on I decided I was never going back. In my wife’s final months, I read The Five Ways We Grieve by Susan A. Berger and I’d absorbed the message that grief was transformative. You may respond to it in any number of ways, but you will not remain unchanged. After my wife died, I read Healing Through the Dark Emotions by Miriam Greenspan, a book recommended to me by one of my wife’s friends who’d lost her only son at age four to cancer. The transformation message was reprised there and to it was added a second: feel your feelings. Do not fear the darkness. Open your heart and mind and let the grief process carry you on its current. Healing will come in stages, and you will experience unexpected gifts.

I did experience unexpected gifts. Many involved suffering a rainbow of unremitting pain. All the better to teach you resiliency, my dear. Off in the distance a witch cackles. Ah haha. That I can write this now shows that I am released from this spell, which as I said was concussion-like. After my wife died, I chose to read Waiting for Godot by Samuel Beckett and Mrs. Dalloway by Virginia Woolf. Woolf was my wife’s favorite author, and Mrs. Dalloway was her favorite book. I’d never read it, and I chose it to honour her. Waiting for Godot called to me. I felt I was caught in an absurd, Beckettian situation. I had spent so many hours sitting in hospital waiting rooms with my wife (waiting! rooms), so many months waiting for the disease to progress or not, so many weeks, then days, then suddenly minutes at the end, waiting for death. I felt I had confronted the void, and I felt I needed Beckett. Woolf, too. (And I did.) But what next?

Michael

I once made a list of the ten to twelve books I read that first year. It’s still around the house somewhere, but I’m not going to search for it. There were as many books, likely more, I started and set aside. I fell into no rhythm, felt no progression, struggled against despair. I believed in prescribing myself books. I felt I could self-medicate with literature and get through my hard times, but while some books clicked, in general I felt myself slipping downward. Of course, downward is a literary journey, too, but I decided against attempting Dante. Early on I tried Hamlet, a tale of grief and madness, and I thought it fantastic. I read it about the same period of time after my wife’s death as the period of time between the death of Hamlet’s father and the re-marriage of his mother. Too soon! Holy smokes! I also re-read T.S. Eliot’s essay on Hamlet and thought (again) that he was full of it. The capture of Hamlet by chaos and his urgent need for sense, pattern and meaning gripped me as perfectly sensible. Order had been overthrown, and what was it now?

In my own life, I had lost my role as husband and my role as a step-father became severely ambiguous. The children continue to spend time with me, but half what they spent before. The three of us were the ones closest to their mother, and we have a bond that has been forged in fire and is unbreakable, and my separation from them terrified me. If we can make it through seven more years, and get the youngest one out of high school, then we will have achieved something remarkable. It once seemed barely plausible. Now it seems more likely.

Levi

I decided to read Primo Levi. I started with The Periodic Table. I loved it. I wanted to stay with him forever. I thought, “This is what you do when you confront the void. You turn it into something like this.” Years earlier I had read Philip Roth’s interview with Levi. That was my only previous exposure to him. One of my wife’s friends had also told us a story about professional advice she’d received to help her deal with a toxic work environment. The advice was: read Holocaust literature. The premise was: it will make your toxic work environment seem less severe. At least that was her interpretation. I said, “Maybe it means your work is comparable to a concentration camp.” Except, of course, no mass murder. I had both interpretations in my mind when I started reading Levi. I had found the cancer period Beckettian, and the death administration equally so. Again and again I was confronted with the absurdities of our bureaucratic modernism. Trying to deal with my wife’s estate, I tried to process a cheque through the bank, but they wouldn’t do it. I complained to customer service, and got a lecture on the phone from a woman who explained to me that bank policy trumped the law. “We need to protect our customers,” she said. I explained to her that her customer was dead, and I was her husband and executor and that I WAS THE ONE who was responsible for protecting her, and the she was in fact thwarting her customer’s interests. No dice. I lost. I had to find another way of cashing the cheque.

Now that, it’s clear, isn’t a concentration type problem. No. Never. But the gift of Levi is his incredible ability to classify behaviours and identify sub-strata of groups within groups. Even in this darkest of dark environments, the concentration camp, the lager, Levi shows how meaning can be made and maintained, and how victims can create victims. As he notes, the survivors survived because often they were the ones who were able to find an advantage. An extra bowl of soup. An extra piece of bread. Avoiding beatings. Levi himself survived because of his chemistry training. He was put to work in a lab, and even then barely made it out alive. The Periodic Table is framed around chemistry. Each chapter is named after an element. It tells the story of his early life, his chemistry training, the rising anti-Jewish restrictions in Italy, his budding romances, his radicalization, capture and transport to the camp. The camp itself, and later liberation, his return to professional chemistry, and his interactions with Germans, both through his work at a paint factory and through his writings. What a profound life. What a profound contribution to humanity.

After reading The Periodic Table, I read The Drowned and the Saved, which I also found moving, but not as brilliant as The Periodic Table. I started to read Survival in Auschwitz, but put it down after a couple of dozen pages. My interest had shifted. I felt that Levi had given me as much as I could get from him at that time. I reflected on the horrible bureaucracy of the camps, the savage efficiency they implemented, and the homicidal logic they represented. Going through the healthcare system with my wife, we had often remarked, “You’re just a number.” When sit in the waiting (!) room, anticipating your five minutes with the world class specialist, lining up your questions, and wondering what koan he’s going to drop on you for the next week or three until you see him again, you remind yourself that he doesn’t know you. He doesn’t know your life, your ambitions, your dreams, or anything more about you than the list of numbers he sees on your chart, your blood work results, your hormone levels, your this and that and you don’t even know what because they won’t tell you. In the camps, though, you literally were a number, and it was tattooed on your arm, and the purpose of the camp was to kill you, while the purpose of the hospital is to save you. Except for many, they don’t. For my wife, they didn’t. After her mastectomy, back in her hospital room, she said, “I wonder where my breast is now,” and I said, “I know where it is. It’s in the lab.” Because that’s where the doctor had said it would be, to analyze the cells, and include the results in their database and research project. They had asked her permission to do this, of course, but that didn’t make her any less a statistic and a research subject. Catch-22. As a patient you want the benefit of that research, but as a patient you also want your doctor to see you as a human being. Sometimes this happened, and other times, not so much.

For eighteen months I felt concussed, but when that lifted, I felt worse. What was going on? Emotionally over-whelmed. Exhausted. I had survived the cancer period with the help of anti-depressants, anti-anxiety pills, sedatives, blood pressure meds, extra strength Tylenol, beer, wine, gin of increasing proportions. Little by little, I let go of those. The anti-depressants first, then the blood pressure meds. The need for Tylenol diminished. I cut the sedative dose in half. I tried to cut back on the drinking. I kept the anti-anxiety pills in reserve. I went to grief counselling. “Remember you have a body,” the counsellor said. You can’t think your way out of this. Like Miriam Greenspan said, feel your feelings. I wrote a blog throughout this period. I tried to chart my changing emotions. I felt I was getting better. I’m not sure I was getting better, only changing. I couldn’t convince myself that my wife was gone. I knew she was dead, but she felt present. I cried daily, often in sharp painful jags. They were just about the only thing that offered any relief.

What was going on? I had absorbed a blow so powerful, the bruise was taking months and months to work its way out. My head was a cloudy mess. I couldn’t anticipate a future. I tried to write new fiction, but I couldn’t. I could barely read, and often I couldn’t. Television struck me as trivial and dull. The news attracted me not at all. In her final months, my wife had spent a lot of time playing Scrabble on the ipad. I couldn’t even open that application, but I sat most evenings and weekends (when the kids weren’t here) plugging away at various online strategy games. And then I downloaded Candy Crush Saga. The distance between The Periodic Table and Candy Crush Saga, I’m here to tell you, isn’t as vast as it first seems. The attraction, in fact, was similar. At least in my case. Each both excited and calmed my mind, took the random and chaotic and led it into patterns, filled up the time on the clock. Time heals all wounds, the cliché says. Not so, but wounds do need time to heal. Some lots of time, months, even years. As I am relieved from one wound, I seem to confront yet another and then another. Through the cancer period, we looked only forward, never back, and it was a horrible time that we filled with much joy (because we were alive and together and it was our mission), and at first I thought my wound was her death, but after eighteen months I realized that it was also the way she had died. Just the other day, while I was at work in the office, I found myself asking: “Dear God, Why? If you had wanted to take her, why didn’t you just take her? Why did she need to suffer so first?” Thinking like this, makes me think the comparison to the concentration camps isn’t so misplaced. Except one is an act of God, and the other an act of Man.

In March 2014, I felt violent palpitations remembering her mastectomy surgery in March 2011. The memories came upon me suddenly, unexpectedly. I tried to puzzle out why. I had violent images of her scar and “drainage tubes” and her pain and struggle to overcome the loss of muscle under her arm also removed. At the time, we had remained calm, focused, constructive, forward-looking. In 2012, we hadn’t been looking back. Things for her we so much worse. In 2013, I had only been thinking about 2012, her last months, the process of her dying. In 2014, my memory took me back to 2011. I felt ill. I took a couple of days off work. I felt violently shaken with disbelief that they had cut her breast off. Oh my fucking God! What savagery is that!? And we had just let it happen. We had been glad that it happened. We had praised the good work of the surgeon. What a clean, beautiful scar line! All of this seemed impossible to me now. No way. How horrible all of that was. How abnormal. How perverse. What knots we tied ourselves in to make it all seem permissible. No. It was brutal and horrible and a lasting terror. And then, as quickly as they had come, those dark feelings lifted.

I read three J.G. Ballard novels in the first year after my wife died, and one more in the second. First three: Concrete Island, The Day of Creation, Super-Cannes. The forth: Millennium People. I had read Cocaine Nights previously, and some of his short stories. I had a sense that Ballard would be good to read, and he was. Why?

.

PART II (Nov 2014)

It is now over four months since I wrote the first part of this essay, and I have not written a word towards answering that one word question. Life intervened, and also writing the first part of this essay exhausted me. Reading it recently, I was surprised by the anger it contains. I remembered it as “cool” and “dispassionate,” but it is nothing of the sort. I had written about my wife, Kate, without naming her, a distancing strategy. Coming to terms with grief requires a distancing strategy. It is a distancing strategy. Letting go of the past. Trying to get up some momentum for the future.

In September I attended a three-day “Camp Widow” conference in Toronto. Organized by Soaring Spirits International, a California-based grief support organization, this event brought together 120 widowed individuals (110 women, 10 men) and offered a variety of workshops, seminars and peer support opportunities. I wasn’t sure I would like it. I wasn’t sure I would get anything out of it. But I did like it, and I did get a renewed sense of vigor and momentum out of it. Primarily, it helped me realign my heart and my head, accept that I am a widower now, and a widower forever, and understand, perhaps for the first time, that moving on does not require letting go.

I mean, I knew that. I was living that. But this is where the peer support was so important. In my life, I have no peers. I know no one my age who has lost a spouse. People my age tell me things like, “Divorce is like a death.” And they tell me how horrible it was to lose a parent. These events are horrible, and painful, but these people are not my peers. I go to work day after day and try to be a productive person, but my sense of belonging in my life is shattered. Everyone wants me to get “back to normal,” but there is no normal to go back to. If I have a new normal, it will be something I need to build out of the shattered remains of my former life. “Camp Widow” made that crystal clear.

J.G. Ballard was a widower. His wife died in 1964, suddenly from pneumonia, leaving him to raise three children. Of course, he had also spent part of his childhood in a prisoner of war camp in Shanghai. His novels chart the shattered remains of the (post-)modern world. Life after the catastrophe. If Levi was life within (and after) the catastrophe, Ballard is also charting “after the end.” I felt at home in these novels, which are more often read as pre-apocalyptic visions, but I think that’s a misreading. One paraphrase I read in a book on grief noted Heidegger said it was best to live as if the end had already come. This is exactly how I felt after Kate died. Where was I? How could she suddenly be gone? How could we be separated? That wasn’t supposed to happen. What was this place, without her? It wasn’t the world I had known. It was a place “after the end.” I felt pain, but I also felt free in a way I had never felt before. I could do anything, anything at all, and yet all I wanted to do was nothing. Just sit in front of a fire in the woods and poke at it with a stick.

I told these thoughts to a friend, and he told me about Walter Benjamin and his Angel of History:

A Klee drawing named “Angelus Novus” shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe that keeps piling ruin upon ruin and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.

I believe I had said to my friend that Kate’s death had freed me into a land of infinite choice, and yet I felt powerless. The world rumbled on, and I watched it in horror, wondering why it was full of shit. Violence. Madness. Degradation of such variety it was impossible to keep up. None of this was necessary, and yet none of it could be stopped. I seemed to have a front row seat and an awareness heightened beyond anything I had ever experienced. Propelled backwards into the future, we go. Fuck ya.

Ballard

Concrete Island (1973) is a retelling of Robinson Crusoe, except the island is a traffic island lost in a sea of traffic lanes and overpasses. It’s a slim book, and if I wasn’t specifically interested in Ballard I don’t think I would have picked it up, but it gripped me. A middle-aged man on his way home from a rendez vous with his mistress goes over the barrier in his fancy car, rolls down a hill and is trapped in an odd parallel universe, which is within reality and also outside of it. He discovers the island has other denizens, a self-supporting ecosystem, and no way to escape. His expectations of life are fundamentally and suddenly altered, and he must adjust, or die. I identified with that.

The Day of Creation (1987) is also an “after the end” novel. The action takes place in Central Africa, a parched and desert-like place. An Englishman, Doctor Mallory, goes on a Heart of Darkness-type quest after a mysterious river is suddenly sprung free from the earth. In a chaotic world, ruled by paramilitaries, bureaucrats and a freelance television crew, Mallory brakes free and leads all and sundry upriver, seeking its source. There’s some high adventure in this one, but also lots about a world under stress from capitalism, militarism, technological expansion and, let’s just say it, men. The mystery of the natural world is set against all of this. The power of women and girls, too. The new great river. The land mass of the African continent. A wild, post-pubescent, silent girl, who enters carrying a gun, and is equally terrifying and heartbreaking. The novel quickly reveals the foolhardiness of those who think they “know” anything about anything. Propelled backwards into the future, we go. Fuck ya.

Super-Cannes (2000) takes us into a world of ultra-capitalism and a different kind of desert, a kind of intentional community, though it is built for Forbes 500 companies, not 1960s back of the landers. It is also a post-catastrophe novel, in this case a murder rampage which had disturbed the perfectly controlled, micro-managed village just before the arrival of the protagonists, a husband and wife. She is the new doctor (replacing the doctor turned mass murderer), and her husband is the narrator, who has a lot of free time to investigate the goings on of his new surroundings. The genre explored here is whodunit? Or more precisely, whydunit? The plot thickens and thickens, as our hero is introduced to the reigning psychiatrist, who explains the theory and practice of the super village. It is designed to take care of its residents’ every need, so that they can be as productive as possible, and rake in the dough for the multinationals who are paying all of the bills. Taking care of everyone’s needs leads to an unexpected result. Folks are bored. All work and no play, it turns out, isn’t healthy, and the dark side of the soul needs to be exercised. So the folks organize under-the-cover-of-darkness vandalism brigades. Plus much more. I didn’t identify with the plot here, not in a “post-grief” way. But the undercurrent of swirling chaos felt very real. It made me think of the cancer period. It made me think of the dark truths hidden by systems.

Millennium People (2003) continues down this path. The action is set in contemporary England. A bomb has gone off at Heathrow, in the arrivals luggage area. The protagonist is a senior psychologist and his ex-wife is among those killed by the bomb. Through his job, he becomes involved in the investigation, but he begins his own independent research as well, getting drawn deeper and deeper into a shadowy world of domestic terrorism and anti-capitalist rebellion. The book contains an enlarged critique of big money and the faux surface “realities” of consumer culture and mass media. As with Super-Cannes, the plot plays with the idea that violence leads to a truer engagement with life, an idea that Ballard has returned to for decades. See, for example, Crash (1973), where characters stage car accidents for sexual pleasure. I found Millennium People to be the least satisfying of the four Ballard novels I read in this sequence. Some of the ideas felt recycled. The protagonists were starting to blur together. But the insights about an outer shell of mass media images obscuring and inner crust of essential “being” expressed what I felt to be intuitively true in my post-grief blurriness.

Being in a “liminal” world, is something Kate spoke about, as she lived with terminal cancer. Liminal = in between, life and death, here and there, fear and hope. And so on. I often felt in that space, too. Outside the main flow of life. And as I watched her die I felt as close as you can get to the other side without slipping into the void. Kate had spoken to a friend about the writing of Stephen Jenkinson, a palliative care specialist. She seemed to like what he had to say, but we didn’t talk about it much. She didn’t like to talk about dying, at least with me. She wanted us to just life, stay in our groove. But one of the things Jenkinson focuses on is fear, confronting fear, specifically. One story he tells is how most people when they confront death, aren’t actually confronting death; they’re too lost in the fear. He says that meeting death is like meeting love. You meet a new lover and at first you confront feelings of anxiety and uncertainty. Is this going to work out? Can I actually connect with that person? And you go through those emotions, and then you connect with love. Connecting with death is the same, he says. And that describes what I felt, waiting, watching Kate get sicker, knowing that death would come soon, but never really sure when. Months, then weeks, then days. Imminently.

Five days before she died we were at the hospital for the last time, and her bloodwork was terrible. The numbers were not good, and she knew what that meant. She said, “I guess this is it.” Later, she asked me what my biggest fear was. I said it wasn’t that she was going to die. I wasn’t afraid about that. Now, reflecting on then, I’m stunned. We were there with death and we were both, “Oh, well. I guess it’s really going to happen.” The fears I had were about what would happen after she died. I told her that, but I also told her that I knew she didn’t want to discuss any of that with me. She didn’t. We sat in the sun outside the hospital, and I told her I wished we could just stay there forever. It wasn’t the disease that was the problem; it was time. We said some other things to each other also. It was really beautiful. Then we had to go home and re-enter reality and play the drama out. Three days later she was no longer speaking. She died two days after that.

Have I made it clear how Ballard’s multiple levels of reality felt just right to me? I hope so.

Just recently I recounted Jenkinson’s story about going through fear to get to death to my psychologist. I wanted to make the point to him that nobody told me I would have to go back through the ring of fear to get back into ordinary life. For a long time, I didn’t want anything to do with ordinary life. I liked being in the liminal space. I wanted to just stay there. It was a place full of insight, and a level of quiet peace that was sustaining, even if not fully real. But you can’t stay there. At least, I couldn’t. It’s that infernal engine of time again (another of Ballard’s obsessions, also; there’s some fantastic short stories that attack time savagely, but that’s for another…well…). Time wouldn’t let me drift in a void-like space for long, and getting back to a sense of normalcy was very, very painful. Ballard didn’t help with that. Levi, not so much, either.

I didn’t seek out novels about grief. I tried to read Murakami’s nonfiction about the sarin gas attack. I couldn’t get into it. I thought I would feel an “after the end” connection to it, but I didn’t.

On the first Valentine’s Day after Kate’s death, I bought Dave Eggers’s A Heartbreaking Work of Staggering Genius (2000). God, I hated this book when it came out. Everyone who told me about it made it sound horrible. I found the title unforgiveable. I had tried to read a number of different Eggers titles and found them unwelcoming to my tastes. But Kate liked his stuff. And this was a novel about grief and moving through it and past it, and in a moment of perversity I bought it, then devoured it quickly. I then put it on the shelf with Kate’s other Eggers titles (her books are still separate from mine). I felt, in a way, that I had read it for her. I know that sounds weird. There was more than a little magical thinking going on. I really hated the “Dave” character, pretty much all the way through, but I also got what he was doing, and I knew that I only got it because I was going through something so, so similar. I felt that I was in a place that only I could understand, and I was having visions that were like x-rays, but I knew none of this was because of genius, and also that it was heartbreaking in a quotidian way. It was pretty simple. My wife had died when I was 43. I had been 38 when we married. Eggers was in his early twenties when both of his parents had died from cancer in short succession, leaving him with custody of his much younger brother. Holy fuck, I thought. Now that’s a raw deal. And the novel is often raw, and sometimes it’s just plain stupid, but it is a song of pain that is staggering, heartbreaking, and even, yes, at times, genius. But it still left me trapped in Jenkinson’s wall of fear.

levels-of-life

Julian Barnes lost is wife in 2008, suddenly to cancer. In 2013, he published Levels of Life, a memoir of his grief. In 2011, he published The Sense of an Ending, a novel deeply reflective of the mysteries that haunt our lives. I read both of these books in close succession in the past year, and they are each remarkable and each marked, I believe, with the sharp pain and clarity of vision that grief can bring. Levels of Life is specifically about Barnes’ own grief and he tells of hard, hurting moments, but he also gives us a magical story about balloons. It’s really amazing, how he grounds the reader with enormous weight, and also makes us feel lighter than air. This is an incredible book, and it lifted my heart. The Sense of an Ending is also an incredible book, and now that I think about it it has grief at its core also. The protagonist is an older man, reflecting on the death of a close friend when he was young. Recent events draw him back into the past, and he discovers that things he thought were so, weren’t at all. He wonders if he has made a mess of his life, but he is not without opportunities to correct it, at least partly. I bought this book at Heathrow on a visit to London, and read it in the lounge and on the plane, completing it before landing in Toronto. Both of these Barnes titles are about transition, and in the past two-and-a-half years that has been my life, over and over. Will this bloody transition ever end?

I was already feeling a new sense of something when I went to “Camp Widow,” but that experience broke open emotions I hadn’t felt in a long time. It made me realize and articulate, finally, that Kate would never leave me and that I would also move on past her, and that these two facts weren’t in contradiction. She will always be with me, but I can’t stay here, in the now, which is the past. What is that thing, that sense of an ending? Is it a different level of life? I will have my own, new future, and she will be part of it, but she also won’t be part of it. Is that what happens when you get old? You realize that the past is always with you, and nothing ever really ends?

I said to my psychologist, “Returning to ordinary life is fucking horrible. Ordinary life is fucking horrible.” I meant this in an Angel of History way, but also just: my magical powers are fading. Grief is an extraordinary emotion, and living deep in grief is an extraordinary experience. At “Camp Widow” I heard of others who had contemplated suicide, others who had succeeded. Going back through the ring of fear and re-entering ordinary life is a risky period of “time.” To let go of the magic of the grief: hard. To let go of the dreams of being with the loved one: hard. To accept the new reality of here/not here: hard. Some don’t make it. Eggers’s older sister didn’t make it. Barnes muses about suicide as an option. Levi either killed himself or died in an accidental fall. Ballard’s vision includes violence as a kind of release. I was never suicidal, but one question pounded in centre of my mind: why should I go on? Why, without her? As I have gone on, I’ve realized again and again that I’m not without her. I don’t know how to explain that, except I have a glowing certainty that it’s so. And my PTSD pain, the memories of her suffering, etc., fades, too. The soul is lighter than air, it rises like a balloon.

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CODA

Okay, the PTSD pain. Yes, it fades, but it also comes and goes. The concept of “trigger warnings” is growing in common usage, and I was initially skeptical. I’m naturally skeptical. But the first week of November, the date I’m writing this, is the week Kate had her first chemotherapy. I’m self-conscious of anniversaries, and careful. Better to anticipate feeling crappy than to have it sneak up on you. Well, this week snuck up on me. Yesterday I felt like utter crap. Not as bad as I have often in the past, but worse than I’ve felt in a while. What happened at this time? I asked myself, and then I knew.

Here’s the thing about that first chemotherapy. We took a video camera. I have about a dozen video files of Kate from that day after various stages of the process. I had forgotten that entirely and then a while back found these files. We must have been crazy. We were crazy. Kate was adamant, however, that the disease wasn’t going to change her. She is seen plugged up to the machine and laughing. She is seen at home in bed, towel on her head, complaining of a headache and laughing. In one video she has the camera and she points it at me. I make a funny face. Looking at her doesn’t automatically make me sad any more. Looking at myself, was shocking.

I want to be that guy again, but I cannot. Nor can I tell him, buddy, hold on. You are in for a wild ride. If there was one thing I could tell him (me), it would be that the strategy of laughing your way through cancer will fall apart. You may think, dude, that cancer was bad; and it was; but losing her, this will be worse. (You will not laugh your way through grief, though your step-daughter will expect it of you. So like her mother, she will say, “I don’t like to see you cry.”) To put it in terms of this essay, I read and wrote through the cancer period. I clung to my reading (as did Kate) like a life raft. I read in many hospital waiting rooms. I wrote a book review weeks before she died. All of that fell apart in the tunnel of grief. This essay has been about putting my reading life back together. I have piles of books scattered all over the house, as I did before she died. I am reading widely and randomly, as I have always liked to do. On this good news, I will end.

— Michael Bryson [1]

Link to Kate’s Photos: http://kateorourkephotos.blogspot.ca/

 

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Michael Bryson has been reviewing books for twenty years and publishing short stories almost as long. His latest publication is a story “Survival” at Found Press. In 2011, he published an e-version of his novella Only A Lower Paradise: A Story About Fallen Angels and Confusion on Planet Earth. His other books are Thirteen Shades of Black and White (1999), The Lizard (2009) and How Many Girlfriends (2010). In 1999, he founded the online literary magazine, The Danforth Review, and published 26 issues of fiction, etcetera, before taking a break in 2009. TDR resumed publication in 2011. He blogs at the Underground Book Club.

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Footnotes    (↵ returns to text)

  1. Here’s a short list of some books I’ve read recently that I’m enthusiastic about:
    Mad Hope, Heather Birrell
    How Should a Person Be?, Sheila Heti
    Why Be Happy When You Could be Normal?, Jeanette Winterson
    Nothing Looks Familiar, Shawn Syms
    Interference, Michelle Berry
    Polyamorous Love Song, Jacab Wren
    Bourgeois Empire, Evie Christie
    The Desperates, Greg Kearney
    You Must Work Harder to Write Poetry of Excellence, Donato Mancini
    The Lone Ranger and Tonto Fist Fight in Heaven, Sherman Alexi
    Conversations with a Dead Man: The Legacy of Duncan Cambell Scott, Mark Abley

    Here’s some books I hope to get to soon:
    Inherent Vice, Thomas Pynchon
    What Would Lynne Tillman Do?, Lynne Tillman
    Come Back, Sky Gilbert
    Stories in a New Skin, Keavy Martin
    All the Broken Things, Kathryn Kuitenbrouwer
    I know you are but what am I?, Heather Birrell
    Ellen in Pieces, Caroline Adderson
    The Outer Harbour, Wayne Compton
    Girl Runner, Carrie Snyder
    Life is about losing everything, Lynn Crosbie
    Sad Peninsula, Mark Sampson
    Gender Failure, Rae Spoon and Ivan E. Coyote
    In the Language of Love, Diane Schoemperlen
    Housekeeping, Marilynne Robinson
    Boundary Problems, Greg Bechtel
    All My Puny Sorrows, Miriam Toews
    The Incomparables, Alexandra Leggat
    Revenge Fantasies of the Politically Dispossessed, Jacob Wren
    Professor Borges, Borges
    Rap, Race, and Reality, Chuck D
    The Collected Stories of Stephan Zweig
    Tobacco Wars
    , Paul Seesequasis
    Voluptuous Pleasure, Marianne Apostolides
    Sophrosyne, Marianne Apostolides
    Consumed, David Cronenberg

    Read on.

Dec 062014
 

emily_dickinson_daguerreotype_-large-


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Given the magnitude of her achievement, it is hard to believe that Emily Dickinson’s poetry was not presented in an accurate text until 1955, almost seventy years after her death. And since those poems (almost 1,800 in number) continue to surprise and dazzle us with their linguistic ingenuity and psychological penetration, it is even harder to believe that Emily Dickinson was born 184 years ago!—on December 10, 1830. Famously, she spent much of her later, secluded life in her garden or writing in her room in the family house in Amherst. Yet, on Keatsian “wings of poesy,” she traveled the universe, from the microscopic to the cosmic. Her penchant for privacy far exceeded that of Thoreau, who had augmented Nature, the seminal work of his mentor Emerson, with Walden, the record of a temporary retreat to the woods, to live and write in solitude. Emily Dickinson’s only rivals for creative eminence in later nineteenth-century America were notably expansive: world-famous, globe-trotting Mark Twain, sea-voyaging Herman Melville, and that “kosmos,” Walt Whitman, who spread himself amply, in line-length and in the panorama of his Democratic vistas. In contrast, reclusive Emily Dickinson’s genius was in scrimshaw-like concision, economy, distillation. Yet her reach matched theirs in capaciousness. She took “For Occupation—This—/ The spreading wide my narrow Hands/ To gather Paradise—” (657).

But what did Emily Dickinson think of when she imagined “Heaven” or “Paradise”? More often than not, she clung to Emersonian and Thoreauvian “nature.” Her poems and letters on death and paradise, in which the human and the floral are often conflated by this gardener-poet, provide examples of what Thomas Carlyle, in Sartor Resartus, termed “natural supernaturalism,” a phrase made part of Romantic criticism’s permanent vocabulary with the publication of M. H. Abrams’s landmark study of the secularization of the sacred—Natural Supernaturalism: Tradition and Revolution in Romantic Literature (1971). In an August 1856 letter to her friend Elizabeth Holland, Dickinson’s natural supernaturalism and her pervasive human/floral analogy are explicit, with a fortunate exception: “I’m so glad you are not a blossom, for those in my garden fade, and then ‘a reaper whose name is Death’ has come to get a few to help him make a bouquet for himself.” This follows a passage that assumes the analogy, claiming that this earth would be Paradise enough were it not for frost and that Grim Reaper. This paragraph begins (Dickinson’s letters often combine prose with poetry) in modified ballad meter: “If roses had not faded, and frosts had never come and one had not fallen here and there whom I could not awaken, there were no need of other Heaven than the one below, and if God had been here this summer, and seen the things that I have seen—I guess he would think His Paradise superfluous” (Letters, 329).

The relatively open-minded Christianity of Elizabeth Holland and her husband may have freed Dickinson to confide such thoughts. A few years later, she would put this fusion of Nature and Heaven, of the physical and spiritual senses, into poetry. What we see, hear, and know is Nature: a harmonious Heaven whose simplicity is superior to our supposed wisdom:

“Nature” is what we see—
The Hill—the Afternoon—
Squirrel—Eclipse—the Bumble bee—
Nay—Nature is Heaven—
Nature is what we hear—
The Bobolink—the Sea—
Thunder—the Cricket—
Nay—Nature is Harmony—
Nature is what we know—
Yet have no art to say—
So impotent Our Wisdom is
To her Simplicity. (668)

Dickinson’s Romantic vision of an Earthly Paradise, its minute particulars as cherished as its sublime manifestations and all the more beautiful because it is under the shadow of death, is reminiscent of Wordsworth, before he froze over, and of Dickinson’s beloved Keats, who never froze over. Keats told a religiously conservative friend, Benjamin Bailey, that his own “favorite Speculation” was that “we shall enjoy ourselves here after by having what we called happiness on Earth repeated in a finer tone, and so repeated” (Letters of John Keats, 1:184-86). In one of the most beautiful passages ever written by Emily Brontë, Catherine Earnshaw’s daughter (the second “Cathy” in Wuthering Heights) describes her “most perfect idea of heaven’s happiness.” She would be “rocking” at the heart of the natural world, “in a rustling green tree, with a west wind blowing, and bright, white clouds flitting rapidly above; and not only larks, but throstles, and blackbirds, and linnets, and cuckoos pouring out music on every side,…grass undulating in waves to the breeze; and woods and sounding water, and the whole world awake and wild with joy….I wanted all to sparkle and dance, in a golden jubilee” (Wuthering Heights, Norton Critical Edition, 198-99).

William_WordsworthWilliam Wordsworth

Such passages explain Dickinson’s reverence of “gigantic Emily Brontë” (Letters, 721), one of whose poems (“Last Lines,” also known as “No Coward Soul Was Mine”), a favorite of Emily Dickinson, was appropriately read at her funeral service. Wonderful as it is, Brontë’s description of a naturalized “heaven” or “paradise”—a world in motion, in which the speaker actively and joyfully engages in her surroundings—is both Keatsian and Wordsworthian. The final gathering (waves, breeze, woods, water, the whole world awake and joyous), especially Cathy’s wanting “all to sparkle and dance, in a golden jubilee,” unmistakably recalls Wordsworth’s (and Dorothy’s) “host of golden daffodils,/ Beside the lake, beneath the trees,/ Fluttering and dancing in the breeze.” Those flowers, which outdo “the sparkling waves in glee,” comprise “a jocund company” in whose presence a “poet could not but be gay,” a joy recalled whenever “They flash upon that inward eye/ Which is the bliss of solitude;/ And then my heart with pleasure fills,/ And dances with the daffodils.” (“I Wandered Lonely as a Cloud”)

Wordsworth_Excursion

Wordsworth’s head-“tossing” flowers are personified in a delicately pagan manner, their “sprightly dance” allying them with sprights or sprites: elfin supernatural beings. That disciple of Wordsworth and mentor to Emily Dickinson, Ralph Waldo Emerson, was also attuned to the sort of earthly paradise that appealed to both Emilys. He began his famous or infamous 1838 Address to the Harvard Divinity School by fusing the “gladsome pagans” in what was his as well as Keats’s favorite Book of Wordsworth’s epic poem, The Excursion (those pagans who “looked” and “were humbly thankful for the good/ Which the warm sun solicited, and earth/ Bestowed” [4:932-38]), with the “pagan” of “The World is Too Much With Us.” Quoting Wordsworth’s sonnet, Emerson shocked his pious audience from the outset by declaring that he, too, would rather be “A pagan suckled in a creed outworn” than a Christian impoverished by being cut off from a vital, fecund nature sacrificed to both an austere religion and a crass materialism of “getting and spending.” Accordingly, he began the Divinity School Address with his own deeply responsive evocation of nature’s vital, sparkling, floral beauty. In “this refulgent summer,” it has been “a luxury to draw the breath of life. The grass grows, the buds burst, the meadow is spotted with fire and gold” (Essays and Lectures, 75). Those meadows were alive with flowers aglow with the light of Wordsworth’s “golden daffodils,” and sharing the pagan vitality of their “sprightly dance.” Emerson, like early Wordsworth, would have concurred with Emily Dickinson’s speculation in the letter to Elizabeth Holland: Had God “seen the things that I have seen” this summer, he would—Dickinson boldly or blasphemously surmised—“think His Paradise superfluous.”

It seems a shame that Emily Dickinson, who knew and admired Emerson’s essays, stayed in her room when, in 1872, the great man, after a lecture at Amherst College, visited her brother and sister-in-law, living just next-door. With his acute eye, Emerson would surely have recognized genius, just as he did when he first laid eyes on Whitman’s then-unpublished poetry. There are many passages in which Emerson, a peculiarly grounded Transcendentalist, evokes an earthly paradise. In his essay on Swedenborg in Representative Men, Emerson claimed that the only thing “certain” about a possible heaven was that it must “tally with what was best in nature.” It “must not be inferior in tone…agreeing with flowers, with tides, and the rising and setting of autumnal stars.” “Melodious poets” will be inspired “when once the penetrating key-note of nature and spirit is sounded,—the earth-beat, sea-beat, heart-beat, which makes the tune to which the sun rolls, and the globule of blood, and the sap of trees.” (Essays and Lectures, 686-87)

iemersr001p1Ralph Waldo Emerson

Like Keats’s “a finer tone”—descriptive both of the unheard music in the “Ode on a Grecian Urn” and of the repetition of earthly happiness “here after”—Emerson’s “not…inferior in tone,” and stress on key-note, melodiousness, and tune, echoes a text familiar to both Keats and Emerson: Wordsworth’s Excursion, and the Solitary’s reference in Book 2 to “Music in a finer tone” (2:710). Even later Wordsworth, tamed-down and religiously orthodox, never ceased to be a lover “of all that we behold/ From this green earth” (“Tintern Abbey,” lines 104-5), a poet who found his “Paradise, and groves/ Elysian”—provided the human intellect was “wedded to this goodly universe/ In love and holy passion”—to be a “simple produce of the common day” (“Prospectus” to The Recluse,” lines 43-55). Even in revising from a more conservative perspective his account of his early enthusiasm for the French Revolution, Wordsworth never recanted the desire initially expressed, to exercise his skill, “Not in Utopia” or some other ideal place, “Heaven knows where!/ But in the very world, which is the world/ Of all of us,—the place where, in the end,/ We find our happiness, or not at all!” (The Prelude [1850 version]), 11:140-44).

“Oh Matchless Earth,” Emily Dickinson exclaimed in a one-sentence letter, “We underrate the chance to dwell in Thee” (Letters, 478). She was borrowing from the “Prologue” to Wordsworth’s Peter Bell. Having sailed into the heavens in his little boat in the shape of a crescent moon, and having described the constellations and planets, the speaker asks rhetorically, “What are they to that tiny grain,/ That little Earth of ours?” And so he descends: “Then back to Earth, the dear green Earth…See! There she is, the matchless Earth!” (Peter Bell, lines 49-56). Dickinson herself might be “glad” that others believed they were, in the opening exclamation of her early poem, “Going to Heaven!” But, for herself,

I’m glad I don’t believe it
For it would stop my breath—
And I’d like to look a little more
At such a curious Earth! (79)

There is yet another parallel to Emily Dickinson’s thought that “Nature is Heaven,” or that Heaven would be superfluous, if only our earthly Paradise were free of frost and death. In a passage familiar to Wordsworth, Keats, Emerson, and Dickinson, Milton’s archangel Raphael offers a speculative analogy. Explaining to Adam the mysteries of celestial warfare by likening spiritual to corporeal forms, he adds: “Though what if Earth/ Be but the shadow of Heaven, and things therein/ Each to the other like, more than on earth is thought?” (Paradise Lost 5:573-76). Emily Dickinson echoed and altered this passage in an 1852 letter to “Dear Susie” (her soon-to-be sister-in-law, Susan Gilbert). Reversing Raphael’s “therein,” Dickinson locates love “Herein,” and concludes by taking literally the angel’s rhetorical but intriguing question: “But that was Heaven—this is but Earth, Earth so like to heaven that I would hesitate should the true one call away.” (Letters, 195; italics in original). Milton himself may have been open to the idea of Heaven as a projection of earthly happiness complete with a terrestrial landscape. In his fusion of the Classical and Christian in “Lycidas,” the pastoral elegist leaves us free to imagine the risen man as either “saint” in Heaven or as the “genius of the shore,” drowned, but now, through the power “of him that walked the waves,” mounted to a place “Where other groves and other streams along,/ With nectar pure his oozy locks he laves” (lines 172-75).

In a jocoserious, life-affirming poem looking back to Romantic and Emersonian “nature worship” and ahead to the earth-centered female persona of Wallace Steven’s “Sunday Morning,” Dickinson rejects religious ritual, a formal “church,” and an other-worldly Heaven in favor of an earthly paradise, a God immanent rather than transcendent, and salvation as a daily process rather than a static end-state:

Some keep the Sabbath going to Church—
I keep it, staying at Home—
With a Bobolink for a Chorister—
And an Orchard for a Dome—

Some keep the Sabbath in Surplice—
I just wear my Wings—
And instead of rolling the Bell, for Church,
Our little Sexton—sings.

God preaches, a noted Clergyman—
And the sermon is never long,
So instead of getting to Heaven, at last—
I’m going, all along. (324)

In an 1863 letter to Thomas Wentworth Higginson, in which she describes herself as “not reared to prayer,” Dickinson pronounces “the ‘Supernatural’…only the Natural, disclosed” (Letters, 423-24). In a poem written that year or the year before (Johnson dates it 1862, Franklin 1863), dawn and noon seem symbols of what she calls “Heaven.” The skepticism implicit in the setting of “Heaven” in quotation marks is confirmed in the final two stanzas:

The Rapture of a finished Day—
Returning to the West—
All these—remind us of the place
That Men call “Paradise”—

Itself be fairer—we suppose—
But how Ourself, shall be
Adorned, for a Superior Grace—
Not yet, our eyes can see— (575)

In two letters of 1873, Dickinson subverts Paul’s text (“For this corruptible must put on incorruption, and this mortal must put on immortality”) about the dead being raised and changed as a consequence of Christ’s Resurrection (1 Cor. 15:52-53). In the first letter (April 1873), she pronounces the novelist George Eliot (whom she knew to be a woman, Marian Evans) a “mortal” who “has already put on immortality,” adding that “the mysteries of human nature surpass the ‘mysteries of redemption,’ for the infinite we only suppose, while we see the finite” (Letters, 506). Later that year, in a letter to Elizabeth Holland, Emily notes that her sister Lavinia, just back from a visit to the Hollands, had said her hosts “dwell in paradise.” Emily declares: “I have never believed the latter to be a supernatural site”; instead, “Eden, always eligible,” is present in the intimacy of “Meadows” and the noonday “Sun.” If, as Blake said, “Everything that lives is holy,” it is a this-worldly truth of which believers like her sister and father are cheated: “While the Clergyman tells Father and Vinnie that ‘this Corruptible shall put on Incorruption’—it has already done so and they go defrauded” (Letters, 508). In a notably legalistic affirmation of earth, included in an 1877 letter to a lawyer, her increasingly skeptical brother Austin, she goes even further:

The Fact that Earth is Heaven—
Whether Heaven is Heaven or not
If not an Affidavit
Of that specific Spot
Not only must confirm us
That it is not for us
But that it would affront us
To dwell in such a place— (1408)

Wallace Stevens, who, in “Sunday Morning,” imagines his female persona asking if she shall not “find in comforts of the sun,” in any “balm or beauty of the earth/ Things to be cherished like the thought of heaven?” insists elsewhere that “poetry/ Exceeding music must take the place/ Of empty heaven and its hymns” (“The Man with the Blue Guitar,” section 5); that we must live in “a physical world,” the very air “swarming” with the “metaphysical changes that occur,/ Merely in living as and where we live” (“Esthetique du Mal,” section 15). Stevens seems to be recalling Wordsworth’s “Prospectus” and Emerson’s seminal book Nature, along with that ardent disciple of Emerson, Friedrich Nietzsche. He might as well have been thinking of Emily Dickinson, and her audacious, even blasphemous preference for the tangible things of this earth, to be cherished above thoughts of an otherworldly Heaven, an abstract place offensive to our nature. Nietzsche’s Zarathustra’s beseeches us in his Prologue to “remain faithful to the earth, and do not believe those who speak…of otherworldly hopes!” She never accepted the Nietzschean premise, the Death of God, but, when she was only fifteen, Emily confided in her friend Abiah Root that the main reason she was “continually putting off becoming a Christian,” despite the “aching void in my heart,” was her inability to conceive of an existence beyond this earth as anything but horrible: “Does not Eternity appear dreadful to you?….it seems so dark to me that I almost wish there was no Eternity.” Two years later she tells a friend that, while she regrets that she did not seize a past opportunity to “give up and become a Christian,” she won’t: “it is hard for me to give up the world” (Letters, 27-28, 67). She is not referring to that material “world” of getting and spending that is “too much with us,” but to this “matchless Earth” indistinguishable from, and perhaps preferable to, Heaven.

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The problem, of course, is that this Earth, however “matchless,” is not free of frost and death, so often almost indistinguishable in Dickinson. The invasive force in her Earthly Paradise was less the worm than the frost. The link between the fading and freezing-by-frost of her flowers on the one hand, and the death of those she cannot waken on the other, becomes a dominant motif. Her cherishing of a Heaven-like Earth is sometimes connected with the pain inflicted from above. In one poem, while noting the “firmest proof” of “Heaven above,” she significantly adds that, “Except for its marauding Hand/ It had been heaven below” (1205; my italics). In another letter to Elizabeth Holland and her husband, Heaven’s “marauding Hand” seems both a grim Reaper and a cruel Leveler. Writing during a period (autumn, 1858) when an epidemic of typhoid fever had struck Amherst, she cries out, not in concluding but in opening the letter: “Good-night! I can’t stay any longer in a world of death. Austin [her brother] is ill of fever. I buried my garden last week—our man, Dick, lost a little girl through scarlet fever….Ah! Democratic Death! Grasping the proudest zinnia from my purple garden,—then deep to his bosom calling the serf’s child” (Letters, 341).

virginia-woolfVirginia Woolf

This letter has become controversial. The admittedly jarring reference to the “serf’s child,” both “politically” and historically incorrect, has been described as insensitive, shocking, an indication of casual snobbishness at best and class-conscious callousness at worst, compounded by (in the phrase of Albert Habegger) her “equating ‘the serf’s child’ with her frost-killed flowers” (My Wars Are Laid Away in Books: The Life of Emily Dickinson [2001], 363). We may be reminded of Virginia Woolf’s Clarissa Dalloway, who imagines people saying of her, “she cared much more for her roses than for” such human but distant “victims of cruelty and injustice” as those who perished in the Armenian genocide (Mrs. Dalloway [Norton Critical Edition], 88). But the best response to the attack on Dickinson’s “callousness” in this letter seems to me that of Judith Farr. After acknowledging the “insensitivity it projects,” she reminds us that “Austin’s [serious] illness and the coming of winter are also equated” in the letter. She then makes her central point, one I would emphasize as well:

To begin with, it is simply the case that Emily Dickinson loved flowers quite as much and as if they were human; her implicit comparison was…not intended to diminish the “little girl,” as she is rather tenderly called….With the cadences of Ecclesiastes and the Elizabethans always vivid in her ear, it was only natural that Dickinson should express the communion and equality of all living forms in death. Indeed, her letter’s zinnia and child commingling in Death’s grasp calls up such lines as Cymbeline’s “Golden Lads, and Girles all must,/ As Chimney-sweepers come to dust.”….Not snobbery, but the power of the aesthetic impulse to which she was subject is chiefly manifested in Dickinson’s much-discussed letter. (The Gardens of Emily Dickinson [2004], 56)

I would add only that Dickinson’s equation, not limited to the influence of Ecclesiastes and Shakespeare, also had Romantic auspices. Between Death’s “grasp” on a proud flower in her royally purple garden and the death of the little child of a servant there is no more gap than we find in “Threnody,” Emerson’s elegy for his little boy, Waldo. Also a victim of scarlet fever, dead at the age of five, that “hyacinthine boy” and “budding man” was never to blossom, though his father prepares for him, in the conclusion of the elegy, an appropriate Heaven: not “adamant… stark and cold,” but a rather Wordsworthian or Keatsian “nest of bending reeds,/ Flowering grass and scented weeds” (“Threnody,” lines 15, 26, 272-75). In a less-discussed but similar letter to Elizabeth Holland, whose child had suffered a crippling injury, Dickinson notes that “to assault so minute a creature seems to me malign, unworthy of Nature—but the frost is no respecter of persons.” In other letters, starting in the 1850s, Dickinson assumes this floral/frost/human analogue, making explicit what is implicit in poems like “Apparently with no surprise,” where “the Frost beheads” the “happy Flower” (1624): namely, her pervasive connection of flowers and frost with human life and death. At times at least, she includes a vision of transcendence for believers, the hope of spiritual resurrection.

Even when “the frost has been severe,” killing off flowers and plants that try in vain “to shield them from the chilly north-east wind,” there can be an imperishable garden. I am quoting from a touching letter of October 1851, anticipating the arrival of Austin. She had “tried to delay the frosts,” detaining the “fading flowers” until he came. But the flowers, like the poor “bewildered” flies trying to warm themselves in the kitchen, “do not understand that there are no summer mornings remaining to them and to me.” But no matter the effect on her flowers and plants of the severe frost brought by the “chilly north-east wind,” she can offer her brother “another” garden impervious to frost. The theme kindles her prose into poetry, minus the line-breaks (in fact, Johnson prints it as a poem, #2). She offers a bright, ever-green garden, “where not a frost has been, in its unfading flowers I hear the bright bee hum; prithee, my Brother, into my garden come!” (Letters, 149). As Judith Farr remarks, such a garden—which “could never exist, except in metaphor”—is “the garden of herself: her imagination, her love, each of which, she says, will outlast time.” As much as any poem in her canon, this early letter-poem, probably written when Dickinson was twenty-one, “discloses the rapt identification she made between herself, her creativity, and her flowers….‘Here is a brighter garden’ instinctively focuses on the garden of her mind, with its loving thoughts that transcend the ‘frost’ of death.” (The Gardens of Emily Dickinson, 56)

A third of a century later, we have a remarkably similar letter in which, at least for her beloved brother, there is an autumnal harbinger of a spiritual as well as a natural spring to come. In this late letter of autumn 1884, the same year she wrote “Apparently with no surprise,” she tells a family friend, Maria Whitney:

…………...Changelessness is Nature’s change. The plants went into camp last night, their tender
armor insufficient for the crafty nights.
……………That is one of the parting acts of the year, and has an emerald pathos—and Austin
hangs bouquets of corn in the piazza’s ceiling, also an omen, for Austin believes.
……………The golden bowl breaks soundlessly, but it will not be whole again till another year.
………………………………………………………………………………………………………………………(Letters, 848)

Anthropomorphizing (as in the 1851 letter, where the flowers try to “shield them[selves]” from the autumn wind), she presents the “tender armor” of her flowers as inadequate to protect them against the autumnal frost. So, alert to their needs, she brings them indoors, into the “camp” of her conservatory. She ends by quoting the admonition from Ecclesiastes, that we are to remember God before the body disintegrates, before “the silver cord be loosed or the golden bowl be broken” (12:6). But Emily differentiates herself from her brother Austin, a closet skeptic who, for the purposes of this letter, “believes”—has faith, that is, not only in the seasonal rebirth of corn from seeds, but in the spiritual resurrection of the body. His sister, adhering to a seasonal form of natural supernaturalism, confines her hope to a natural spring; her “golden bowl” will “not be whole again till another year.”

Two of Emily Dickinson’s most beautiful, and most Keatsian, poems, mark her major seasonal transition, from summer to autumn. In “As imperceptibly as Grief,” summer has “lapsed away,” a beloved season that can’t quite be accused of “Perfidy” since she was always a “Guest, that would be gone.” The poem ends with summer, like Keats’s nightingale, having “made her light escape/ Into the Beautiful,” a Platonic realm beyond us, leaving behind only the memory, which is to be cherished here on earth (1540). In “Further in Summer than the Birds,” which has been described, by Charles R. Anderson, as “her finest poem on the theme of the year going down to death and the relation of this to a belief in immortality” (Emily Dickinson’s Poetry: Stairway to Surprise [1966],169), Dickinson employs liturgical language to commemorate, as in Keats’s “To Autumn,” the insects’ dirge for the dying year. “Pathetic from the Grass,” that “minor Nation celebrates/ Its unobtrusive Mass,” their barely noticeable requiem nevertheless “Enlarging Loneliness.” The music of the crickets, coming later in the summer than the song of birds, is a “spectral Canticle.” Their hymn typifies—in the transition from summer to autumn, with “August burning low”—the winter sleep to come, a “Repose” perhaps implying eternal rest on another level.

In the final stanza, Christian and Hebraic vocabulary yields to pagan. At this moment of seasonal transition, there is, “as yet,” no “Furrow on the Glow” of sunlit, burning August, “Yet a Druidic difference/ Enhances Nature now” (1068). That final religious image, whether we take the Druidic reference as stressing primarily the sacrificial or the animistic element in Celtic nature-worship, powerfully reinforces Dickinson’s own reverence for Nature, its beauty enriched and intensified less, perhaps, by what Anderson calls a “belief in immortality” than—again, as in the ode “To Autumn”—by time’s evanescence and the pathos of mutability, the deeply moving contrast between seasonal return and human transience. That transience extends to all animal life. This poem, written in late 1865 or early 1866, was enclosed in a laconic January 1866 note to her epistolary semi-mentor, Thomas Wentworth Higginson, with whom she had not corresponded for eighteen months. Referring to her beloved dog and constant companion, Emily Dickinson restricted herself to a single statement, and a wry question, less pleading than ironic, perhaps bitter: “Carlo died….Would you instruct me now?” (Letters, 449).

Samuel-BowlesSamuel Bowles

Though of course haunted by the thought of immortality, Dickinson was also dubious. In an 1858 letter to Samuel Bowles, she adopts an ironic, pretension-mocking tone. Distinguishing between nature and “us,” she at once anticipates and deflates modern “species chauvinism,” wondering, tongue-in-cheek, how it is that we mere humans, described by her pastor as a “worm,” should also be the very species singled out for a majestic and special end: a resurrection allegedly obviating any need for mourning, including mourning the death of what would seem to be paradise enough for us: summer with its cherished fields, its bumblebees and birds:

Summer stopped since you were here. Nobody noticed her—that is, no men and women. Doubtless, the fields are rent by petite anguish, and “mourners go about” [Ecclesiastes 12:5] the Woods. But this is not for us. Business enough indeed, our stately Resurrection! A special Courtesy, I judge, from what the Clergy say! To the “natural man,” Bumblebees would seem an improvement, and a spicing of Birds, but far be it from me, to impugn such majestic tastes! Our pastor says we are a “Worm.” How is that reconciled? “Vain, sinful Worm” is possibly of another species. (Letters, 338-39)

By this time, the 1730s’ thunderings of Jonathan Edwards against the moral ills of New England’s sinners in the hands of an angry God had lost some of their resonance, even in Calvinist Amherst. But in his debasement of man as a “worm,” Dickinson’s pastor may (the trope is hardly restricted to Edwards) have been echoing the great Puritan’s description of man as “a vile insect,” a “little, wretched, despicable creature; a worm, a mere nothing, and less than nothing” (The Justice of God in the Damnation of Sinners [1634]). Edwards himself—whose “Martial Hand” of “Conscience” Dickinson presents threatening “wincing” sinners with hellfire, the “Phosphorus of God” (1598)—was echoing Bildad, the second of Job’s false comforters. From the outset, he had advised the innocent sufferer to abase himself. In his final discourse (Job 25:2-6), Bildad wonders if it is even possible for man to “be righteous before God.” To this fear-instilling God of “dominion,” even the moon and stars are unclean; “how much less man, that is a worm? and the son of man, which is a worm!” How indeed, as Emily sardonically inquires, is that abject status reconcilable with our potential for “stately resurrection”?

Man’s biblical genesis and Fall seemed to put that glorious end in doubt. Prior to ejecting guilty Adam and Eve from Eden, the “Lord God” tells them, “dust thou art, and unto dust shalt thou return” (Gen 3:19). For Hamlet, man is “the paragon of animals.., how like a god,” and yet, to him, “what is this quintessence of dust?” (2.2.305-7); Wordsworth, in the opening book of The Prelude, tries to “reconcile” the contradiction: “Dust as we are, the immortal Spirit grows/ Like harmony in music” (1:340-41). Dickinson can engage this tension in the grand tradition, observing that “Death is a Dialogue between/ The Spirit and the Dust,” with Spirit triumphant, “Just laying off for evidence/ An Overcoat of Clay” (976). But she takes a different tack in a couplet-poem she opens by ironically addressing God as “Heavenly Father”:

“Heavenly Father”—take to thee
The supreme iniquity
Fashioned by thy candid Hand
In a moment contraband—
Though to trust us—seem to us
More respectful—“We are Dust”—
We apologize to thee
For thine own Duplicity—(1461)

So much for Bildad-like groveling! Like the image of the worm, that of dust reflects the Calvinist estimate of human worthlessness. But here the “worm” turns, with the “sinful” creature finding fault with the Creator. Despite his seeming straightforwardness, God committed a dubious act (an inconsistency emphasized by the alliterated candid and contraband). In fashioning us as he did, he set up, between dust and immortal spirit, not so much a creative tension as a radical contradiction. He thus stands accused of double-dealing, and any “apology” we make to so duplicitous a God will be less an acknowledgement of our own guilt, or a seeking of pardon, than a self-justifying defense—an apologia in the form of j’accuse directed against a divine adversary. That vindictive God himself supplied the right word. “For I the Lord thy God am a jealous God, visiting the iniquity of the fathers upon the children” (Exodus 20:5). Dickinson, who, like Mark Twain, cherishes the role of lawyer for the plaintiff when it comes to amassing evidence against God’s supposedly benign providence, has the children of Dust visit the charge of injustice upon an anything-but-paternal Heavenly Father, accusing him—blasphemously, though appropriately, given his supreme power—of “the supreme iniquity.”

Emily Dickinson 2

If this reading is accurate, our apology to God for his “own Duplicity” allies the poem with the most blasphemous of Omar Khayyám’s quatrains addressed to God, at least as adapted by Edward Fitzgerald in a translation the Victorian world accepted with a shock of recognition:

Oh Thou, who Man of baser Earth didst make,
And ev’n with Paradise devise the Snake:
……….For all the sin wherewith the face of Man
Is blackened—Man’s forgiveness give—and take!

The work of such writers as Carlyle, Tennyson and Arnold, and, later, Hardy and Housman, all responding in their different ways to Darwinian and other scientific and rationalist challenges to religious belief (including Biblical Higher Criticism) places an imprimatur on the judgment that Fitzgerald’s version of the Rubáiyát “reads like the latest and freshest expression of the perplexity and of the doubt of the generation to which we ourselves belong.” That acute observation was made, however, not by a British Victorian but by an American—the scholar and man of letters Charles Eliot Norton, writing in 1869, a decade before Dickinson wrote “‘Heavenly Father’—take to thee.” Not only the “doubt,” but the “perplexity” as well, is reflected in Dickinson’s poem, for the syntax of her opening lines suggests petition even more than protest. James McIntosh (Nimble Believing: Dickinson and the Unknown [2004]), identifying “humankind” as “the supreme iniquity,” takes these lines to mean: “Father, take humans, who are the supreme iniquity, to thee” (47). Perhaps; but what, then, of the poem’s final lines? My own reading is closer to that of Magdalena Zapedowska, in her 2006 American Transcendentalist Quarterly essay, “Wrestling with Silence.” She argues that, in this poem, Dickinson focuses, not on the Fall as original sin,

but on the subsequent expulsion from Paradise, which she blasphemously construes as the original wrong done to humankind by a God who first offered people happiness, then distrustfully put them to the test, and finally doomed them to suffering. Undermining the dogma of God’s benevolence, Dickinson contemplates the terrifying possibility that the metaphysical order is different from Calvinist teaching and that the human individual is left wholly to him/herself, unable to rely on the hostile Deity against the chaos of the universe. (“Wrestling with Silence,” 385)

At such moments, Emily Dickinson sounds like her considerably more public contemporary, Mark Twain, who made no secret of his religious skepticism, but who nevertheless refrained from publishing his most vitriolic attacks on the Judeo-Christian God, a divinity he described, even before his dark final decade, as both duplicitous and cruel. As the examples of Emily Dickinson and Mark Twain illustrate, for all our immortal longings, we are haunted, and angered, by the death implicit in our originating dust—in the case of both Dickinson and Twain, what Byron called “fiery dust.” And if the “Heavenly Father” who presides over this beautiful but doomed world really is an indifferent and “Approving God” (1624), Emily Dickinson seems to care less for him and for a posthumous, perhaps empty Heaven, than for this Earthly Paradise—the perishable beauty that must die, everything she wishes could “transcend the ‘frost’ of death,” but which she strongly suspects will not.

“Man is in love and loves what vanishes,/ What more is there to say?” That haunting question was posed by W. B. Yeats in one of his greatest poems, “Nineteen Hundred and Nineteen.” He was not suggesting anything so trite as that we love things and then they disappear. He was reminding us that we love beautiful transient things because they are mutable, doomed to vanish. That is precisely why we cherish them so, recognizing, as Wordsworth poignantly acknowledged even in the great Ode in which he claimed intimations of immortality, that “nothing can bring back the hour/ Of splendor in the grass, of glory in the flower.” These splendors and glories are part of a “supernaturalism” that is “natural.” That great enemy of otherworldly hopes and cherisher of the earth, Nietzsche, referred in a December 1885 letter to irretrievable beauty. In a floral image that would have appealed to Emily Dickinson, who would die shortly after this letter was written, he spoke of Rosengeruch des Unwiederbringlichen: the faint rose-breath of what can never be brought back.

Of course, with Wordsworth, Keats, and Emerson as her precursors, we do not really need Emerson’s disciple Nietzsche and Nietzsche’s disciple Yeats to explain why Emily Dickinson’s Earthly Paradise is not only beautiful but death-haunted. I quote Yeats and Nietzsche (and Emily would, I think, approve) for the poignant beauty of their language in commemorating the pathos of mutability, what Wordsworth—deeply moved by the humblest “flower” that blossoms and blows in the breeze—called, in the final line of the Intimations Ode, “Thoughts that do often lie too deep for tears.”

— Patrick J. Keane

Author’s Note: Though most Dickinson scholars prefer the three-volume edition of R. W. Franklin (Harvard U.P., 1998), Emily Dickinson’s poems are here cited by number from the one-volume Complete Poems of Emily Dickinson, ed. Thomas H. Johnson (Little, Brown, 1957, and often reprinted). Her letters are cited from the three-volume but continuously-paginated The Letters of Emily Dickinson, ed. Thomas H. Johnson and Theodora Ward (Harvard University Press, 1958). Wordsworth, Keats, and Emerson, are cited from: Wordsworth: The Poems, ed. John O. Hayden, 2 vols. (Yale UP, 1981); The Letters of John Keats, ed. Hyder E. Rollins, 2 vols. (Harvard UP, 1958); Emerson: Essays and Lectures, ed. Joel Porte (Library of America, 1983).

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PAT kEANE

Patrick J. Keane is Professor Emeritus of Le Moyne College and a Contributing Editor at Numéro Cinq. 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 (2007).

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Jun 132014
 

with grand daughter coraSydney Lea with Cora, his granddaughter

Let’s not mince words. Sydney Lea is a masterful, passionate, eloquent writer, just getting better with age. He can do about anything he wants with a sentence, corral any emotion, evoke mystery, rail, weep, mourn, confess, ponder, berate, and rejoice. He works in image and memory with an audacity that is breathtaking, all the more so because it seems both effortless and utterly in  control. His essays read like long complex sentences, surging forward, splitting and converging and splitting and converging, incomplete until the last period after the last word, when, as Yeats is supposed to have said, they snap shut with the click of a well-made box. I won’t say more. The middle essay will break you heart.

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The Serpent on Barnet Knoll

The young retriever noses a frozen snake across the rain-glazed snow. The creature should long since have wriggled deep into mulch in some granite fissure, so that when it died, it would do so down there, in secret. That it didn’t seems odd.

But my mind’s still odder, having followed its own inward paths from that coiled corpse to a moment this morning before I set out: at the mirror, greasing lips against the cold, I inspected myself. The age-lines, the puckering mouth, the thin gray hair—all still surprised me. I also studied a wen, the permanent swelling that puffs my left eyebrow into a small horn. It’s the frozen snake that has reminded me of that passing moment, though how it did so I can’t explain.

Out here, I encounter the morning’s savage gusts. The spruce-tops thrash and complain. When there’s a lull, I hear the ceaseless and meaningless scolding of red squirrels, the grating of ravens.

One day, in my third grade year to be precise, I knocked off Joe Morey’s hat on the playground, taunting him for a sissy, even though he and I were friends for the most part. Nearly weeping with frustration, he reached down for the hat at the same time I did. Our heads clapped together, my brow swelling slightly but, as it turned out, forever. I’d meant to be cruel that day, I was, and I got my long-lasting due.

In life, the snake was a mere, harmless garter. Today it’s something else, and makes me quit my hike for a while. I stand and wait, but nothing comes to change me. Why would I dream it would, no matter my unvoiced, uncertainly directed, all but unconscious pleading?

It’s almost Christmas, a holy time for many. Through decades of northern winters, I’ve never seen a snake at large in December. But however I strive to discover something significant in the event, nothing reveals itself except what I’ve long known about snakes—mere facts, devoid of meaning, versions of reality that seem only somehow to discredit me.

Was this the creature’s first cold season? Who knows? A snake doesn’t count or reason. But I do; I know there are just so many moments in anybody’s life. Why do I stand here statue-still and fritter a single one away? And yet what else should I be thinking about?

I have wife, children, grandchildren, along with a host of lesser earthly attachments. I clench them tight to my heart, but there come times when a sort of unattached self prevails. Left at large too, I know, that other self might contemplate violence or crime. Also, of course, it doesn’t. I daily, dutifully, and gladly return to a bourgeois life. Am I not therefore absolved? But what in me requires absolution anyhow? I simply feel this unsettledness, ungovernable, random, opaque.

One day my head struck a temporary enemy’s head, but even before that, surely, something had slithered into my soul. It would linger lifelong, making subsequent, unwelcome forays up to the cool surface, whenever, however it might.

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Catch

Whoever you may be, stop reading now if too much sentiment, no matter how genuine, makes you uneasy or angry or whatever else. If you do hear me out, however, I hope you’re not the sort who’d say that my good wife throws like a girl, as my Little League baseball coach once claimed I did, the moron. I threw just fine until my arm got robbed by age. That happened some time back, to be sure.

You don’t have to remind me I might have known worse losses.

Whoever you are, go stand beside my wife, at exactly sixty feet, six inches from some target, and then by God we’ll see how many times she can take a ball or even a stone and hurl it, and how often she’ll hit the can, the post, the tree– and then we’ll see how often you do. Good luck, sucker.

No, wait a minute. There’s little reason to start all this in anger at you, whom I probably don’t even know. I won’t pretend I’m not angry, but why lash out at a stranger? It’s doubtless only despondency that makes me talk this way.

I’ve now and then pictured my wife playing catch with the one boy in her five-sibling family, the one who fought cancer for twelve years and died this past December. I loved him, which is no doubt a crucial factor in my behavior here, my rhetoric.

I’ve seen photographs of those two kids, gloves on left hands, half-smiling, squinting under a summer sun, decades and decades ago. They were a good-looking pair in those days, and both were handsome into late adulthood, no matter most of his hair had been robbed by the vile, stinking chemo, and some of his teeth.

My wife recalls how, in the warm months, when they got home from school, the two would head right out to their yard to toss the baseball around and chat away the afternoon. For me, that’s the very picture of innocence and affection, and if you, anonymous you, consider it the stuff of Norman Rockwell or Hallmark, just haul your sorry self off.

There I go. Forgive me. I’m just uncertain which emotion is which here. For all I can really say, you were innocent too, and still may be, or at least known as a decent, caring person, and it’s not after all as if I have some corner on innocence myself. Sometimes I reckon I’ve never been any better than I have to be.

For one thing, I probably should have been paying closer attention to my wife’s brother—and to my wife as well, come to think about it. Not that it does anyone a bit of good when I beat myself over the head for my omissions. That doesn’t change a thing. If it could, I’d keep at it forever, as in some respects I suppose I have.

On those long-gone afternoons, my wife learned to throw like a man. Instead of moping and cursing, I wish I were man enough to report all this and not break down. But do I really? Do I want to be manly by that definition—furious, fearless, unwilling to take any quarter or give any? There are better things to wish for. I know that these days.

My brother-in-law and I used to go down and watch our Red Sox play at Fenway Park. After a while we had daughters and sons, and we’d take them along. Home runs, triples, double plays: we roared approval at these and more; but we all, child and grownup alike, especially loved those bullet throws that Dwight Evans delivered to cut runs off at the plate.

Too soon, it seems, our lives just seemed to get too busy for Fenway. Then the god-awful cancer showed up. Starting in my brother-in-law’s colon, it got to traveling elsewhere afterwards, and the whole time I only sat here and typed words, as I’m doing even now, weeping. Meanwhile my poor wife is sick with sadness, and I wouldn’t blame her if, thinking back to those old summers, she picked up something and threw it dead-center between God’s eyes.

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The Couple at the Free Pile

Autumn’s church bazaar is over, all the stalwart, weathered tents of the vendors struck except the one over the White Elephant table. Early this Sunday morning, such tatty wares as went unsold still sprawl on the plastic tablecloth or on the ground, but the sign up front reads FREE.

No car approaching or following, I brake to a crawl so I can observe a man and woman making their deliberate ways through the jumble. I naturally notice that their goods are gathered in the rusted bed of the wheelbarrow my wife and I donated to the event, which nods on its fat, limp tire like a weary draft animal.

For me to stop completely might be to embarrass this couple, who covet what we congregants had considered encumbrances. And yet, however it shames me, my curiosity—like desperate thirst, or lust—also impels me. I’ll drive on, circle the village common, and pass back this way again from the other direction. After all, the two scavengers seem devoted to their scrutinies; I doubt they’ll notice my second inspection.

I turn by a picket fence enclosing a big house’s tidy lawn at the south end of the common. The owners held a well-attended garden tour there last June. Then I swing right again, north, going by the famous corner elm, which residents agreed at town meeting to save, approving a line item that funded the tree surgeons’ services.

During the festival, I visited the White Elephant booth myself. As the saying goes, one man’s trash is another man’s treasure, and you never know. As I predicted, however, nothing appealed. Among other bits of uselessness, say, I found a basketball so worn it had lost all traces of its original, pebbled orange; three recumbent, saucer-eyed ceramic deer; a few chipped plates, inscribed Disneyland, 1974 and showing portraits of Mickey, Goofy, Donald; raveled rugs; tarnished lampshades and sconces. So on.

Passing the elementary school, I make a right again, and, before the turn that will take me to another view, I stop at the intersection, just opposite the village store. My wife and I will be having lunch there in an hour or so. Its deli is the best-stocked one for miles, the staff all cheerful.

As I drive, even more slowly than before, past the White Elephant display, I see a car seat in a Bondo’d pickup’s cab. It holds a child, and he or she—it’s hard to tell through the windows’ grime—must have been sleeping a few minutes ago, but now I can just make out a mouth, gaped in a yowl I can’t hear, even if I can imagine it. Surely one of the parents, or both, will step out of the tent to tend the toddler. For now, though, they stand motionless, one on either side of the wheelbarrow, eyes on me. Their stares are furious.

—Sydney Lea

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Sydney Lea is Poet Laureate of Vermont. He founded New England Review in 1977 and edited it till 1989. His poetry collection Pursuit of a Wound (University of Illinois Press, 2000) was one of three finalists for the Pulitzer Prize for poetry. Another collection, To the Bone: New and Selected Poems, was co-winner of the 1998 Poets’ Prize. In 1989, Lea also published the novel A Place in Mind with Scribner. His 1994 collection of naturalist essays, Hunting the Whole Way Home, was re-issued in paper by the Lyons Press in 2003. Lea has received fellowships from the Rockefeller, Fulbright and Guggenheim Foundations, and has taught at Dartmouth, Yale, Wesleyan, Vermont College of Fine Arts and Middlebury College, as well as at Franklin College in Switzerland and the National Hungarian University in Budapest. His stories, poems, essays and criticism have appeared in The New Yorker, The Atlantic, The New Republic, The New York Times, Sports Illustrated and many other periodicals, as well as in more than forty anthologies. His selection of literary essays, A Hundred Himalayas, was published by the University of Michigan Press in September, and Skyhorse Publications just released A North Country Life: Tales of Woodsmen, Waters and Wildlife. His eleventh poetry collection, I Was Thinking of Beauty, was published in 2013 by Four Way Books.

 

Apr 102014
 

author photo 2013

The moral overhang of plants, in the present case a disregarded bonsai, is the notional subject of this deft, intricate essay (with photographs) by Shawna Lemay, an essay that is also an anthology of quotations (about plants, art and people) and gnomic phrasing, an essay that almost seems to unwrite itself as it is written. “…we understand each other illegibly.” “In this way we come to know the unrepeatable secrets of flowers, and then to forget them.”

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The bonsai, now. Purchased years ago from the hardware store. A wish, a pretension, a desire for peacefulness, with an envious thought to the serious practitioners, precipitated its purchase.

Relegated to the basement when it sensed I was not living up to its requirements for emptiness, calm, and a true tenderness. It became too lush and I could not be severe in bringing it back to balance. Years later, it re-emerges. Parts of it have died, irretrievable. Unbalanced but splendid and we understand each other illegibly.

At the stage where she was dreaming, conjuring, The Waves, Virginia Woolf wrote in her diary, “A lamp and a flower pot in the center. The flower can always be changing.” There would be, “…a perpetual crumbling and renewing of the plant. In its leaves she might see things happen. But who is she?”

Bonsai-7

Quickly followed by the wish she remain unnamed. The leaves would most certainly see things happen.

I forge a plan which I quickly abandon, to ask women I know about the plants they have on their windowsills, kitchen tables, desks. I imagine receiving answers about geraniums being overwintered, about African violets, and about bouquets of grocery store tulips and about long stemmed, candy coloured daisies, and roses that deliberately open. Once, someone told me about the aloe vera plant she has on her desk  which has vast properties of healing and with which she conducts séances and hearing this made me too delicate.

We breathe the plant in and the plant receives our exhalations and our chakras align accordingly.

Of course, with Clarice, I’ve been thinking about the sadness of flowers in order to feel more fully the order of what exists for a very long time.

As Cixous said, we have all lived one or two flowers. We have felt the light of them, the light they attract and which goes right through them, and also the heaviness, the gravity, and we have known, perhaps, as the painter Francis Bacon called it, the violence, of roses. Not just the thorns, but the colours changing and bleeding and seeping out of those generous, soft, petals. The way our souls might rise up and speak to flowers, met by flowers, their breathing, the faint breath of them. The pain of finding we can’t quite sip, can’t quite internalize the answers, to the question of scent.

Bonsai-11

I imagine the pots and vases of flowers on a table near a window in time lapse photography, one that encompasses several years. The first day emerges deliberately. It begins in a veil of morning light, I place a vase of garden roses on the weathered table. The pink-orange petals are so various, each one a slightly different combination of pink fluttering into orange. They have opened under the sun, been changed by breezes gentle and ardent and arduous. Insects have nibbled and continued on their way. And now the light becomes more diffuse, evens out, brightens, declines again, and then moonlight comes in and bathes the roses, they soften and at the same time become more radiant, full. The leaves droop a little, curl, the water clouds, the edges of the petals wither, turn a greyish brown, and the pinks become less vibrant, and the orange deepens, lessens. They begin to look tattered in the repetition of this cycle, more graceful, more noble. At one point a hand comes into the frame, and shoves the vase from the center of the table to the edge, to the far end.

In this way we come to know the unrepeatable secrets of flowers, and then to forget them. We learn opening, opening. And then empty, drunk, we succumb to their heavenly sadness. It is the sadness of flowers that reminds us to keep the secret.

The table is empty for several days. The time lapse speeds up. A geranium arrives in a terracotta pot. The stems are thick and gnarled. The plant has lived and lives on in the slips that have been taken. It grows, leaning toward the light through the day, a slow dance. And then the cuttings are removed, and it must grow more leaves, and it does, small sprouts emerge. At which point someone takes it to make room for a gift, a vase of flowers. A ghostly image enters the frame and leaves, which reminds one of security camera footage.

An arrangement, a gift. A florist’s concoction. Tulips, roses, hydrangeas, snapdragons, bits of greenery in a  rigorously balanced and visually interesting triangle. Light pink, fresh green, and lavender. For days they stay as placed, rather too perfect. But then the tulips begin to droop through the course of a single day and are nearly done in.

The time lapse slows and then speeds up, and this feels alarming, how the flowers move as though in a deep conversation, the intensity of their gestures, leanings, listings, to and fro, petals drop in what could be happiness one moment, anger the next, then resignation.

Those which have perished are removed, and the bouquet is awkward, strange. A hand removes the bouquet, the arrangement returns in another form, the remaining flowers cut down and placed in a water glass. They last a day or two more. And at this point, the light in the room becomes grainy, and I can’t help but think about the clouds which must be responsible for this effect.

Bonsai-14

It goes on like this. Long periods where the space is empty. Shadows of people pass over the table. A bird flies by and casts a low and fleeting shadow. Snow falls so the window resembles a 20th century television screen at three a.m. The window is opened and the curtains blow into the frame, ever so gently. Punctuated by moments of flowering. Flowers changing. And changing.

It goes on like this. The fragrance. The colours. The fading. The beauty of decline, the simplicity. All of the attendant moods arrive and pass in waves, swelling and subsiding, at dawn, at dusk.

While I’m imagining the flowers on a table I’m also thinking about 17th century Dutch flower paintings. The way that artists would make and collect studies of  flowers so that they could paint them into lush floral bouquets that couldn’t really exist as the specimens wouldn’t naturally bloom at the same time. Sometimes an artist would share a particular study they’d made, so that another artist would have the exact same rendering of a flower in their own floral painting.

I also remember the painting by Remedios Varos called Still Life Reviving, which is the last thing she painted before her unexpected death. At the center of a small round table with a tablecloth draped on it is a lit candle. Swirling around and hovering above the table are plates, and above them various fruits which at times collide and explode, all of this witnessed by dragonflies. Seeds drop from the colliding fruits, and plants are being born from them before they hit the ground.

I remember the way things appear to lose their magic, and later regain it.

Paper whites in winter. An amaryllis bulb, forced. Spring plum blossoms. Forsythia. Peonies. Roses. Tiger lilies.

The flower is always changing which is dizzying. Which is why, still life.

—Shawna Lemay

Shawna Lemay is a writer, blogger, editor, photographer, and library assistant. She is the creator and co-editor of the website, Canadian Poetries. She has written five books of poetry, All the God-Sized Fruit, Against Paradise, Still, Blue Feast and Red Velvet Forest, a book of essays, Calm Things, and a work of experimental fiction, Hive: A Forgery. A book of poems and poem-essays, titled Asking, is forthcoming in April of 2014. Her daily blog is Calm Things.  She resides in Edmonton, Canada, with her partner, Robert Lemay, a visual artist, and their daughter, Chloe.

Mar 022014
 

Photo on 2-19-14 at 1.35 PM
During the last winter residency at Vermont College of Fine Arts, Patrick Madden and I co-led a creative nonfiction workshop. Besides the usual group discussion of a student manuscripts, we found time to do some teaching as well, focusing on trying to nudge the class away from the general student obsession with narrative, with just getting the true story down. We tried to get them to think about something else while they were writing, things like technique, genre, and tradition. In the first (of six) workshops, we talked briefly about the use of lists in composition (lists in sentences, lists in paragraphs, and list as structural devices). Then we directed the class to read Leonard Michaels’s short story “In the Fifties,” an autobiographical story (might as well have been called an essay), plotless, apparently, a list of events and characters he met. Then we invited the students to write an imitation, or at least use the idea of a list and the Michaels story as a springboard for launching themselves into their own material.

After a week, in the last workshop, the students read out their  essays, cobbled together in a few days interrupted by workshops, lectures, readings and revelery. The results were spectacular, beyond expectation (it was an unusual class to begin with). Two seemed eminently publishable. Today I am publishing the first (the second, Kay Henry’s “In  Dubai,” is here), “Ten Ways to Leave” by Melissa Matthewson, a lovely, poignant evocation of a relationship in the leaving of it, charmingly written, rich with detail (in so brief a piece), startling  and profound in its emotional honesty. And, of course, you can barely see the influence. Such is the nature of influence; good writers take an influence and make it their very own thing.

dg

.
I.

She could go out the back door and down through the yard marked about in roses with hips and the overgrown grass, the juniper slope, the limestone soil and past the jungle gym where the children play out their dreams of kings and queens and kingdoms ruled with swords, fire, dragons, and sometimes happy endings.

II.

She hears a story one afternoon and can’t forget the image of a woman walking the highway at night, alone, having left her husband standing in the parking lot of a store where he has chosen smoke instead of love and so she thinks she could leave with that same kind of drama: treading the turnpike while he watches her from a convenient store window, the road spread out before him like a long strung out piece of thread that will unravel the more you fuss with it, the more you tear at it with your fingers.

III.

She could go while he is sleeping, but she thinks that would be unfair and doesn’t he deserve just a little bit of reason? If she did leave that way, she could sit on the bed first, the children sleeping in the other room, and watch his chest swell to the night, put her hand on his mouth, see every part of him move in dreams or nightmares, something she’s never done, never even been curious about, which makes her wonder. So maybe when the ice thaws, she’ll sneak from the bed tiptoeing through the house to the door and exit into a landscape of disquiet, apprehensive of the choice to go, but surely confident in the fantasy she holds in her mind.

IV.

She left him once for Montana, driving up the north highway and over the mountains into the snow and that was it for awhile. She lived alone in a new place and she thought this was life chosen well, but she missed him remembering when they drank beer on porches while watching cars and bicycles and stars heavy with sky. From there, she went on talking to her sheets at night, grabbing the pillow for his absence.

V.

Maybe they could go for a hike, climb to the top of a mountain and look out from there, the way they did with their children once, the spread of all that grass and rock and peak, the wildflowers just then a new thing. They ate lunch: cheese, chocolate, salami, crackers. On top of that mountain, the wind picked up and it blew their children’s hair and they pointed their fingers to their house in its blue painted wood, just over the three ridges to the west where they could barely make out its slant and hold in the distance. They picked ticks from their hair because they lay in the grass laughing at the sky and it was spring remember. Yes, she thinks they could go for a hike and she could leave him there with the children on the mountain. She could remember him cutting cheese into slices on his knee listening for any movement in the manzanita.

VI.

Or maybe that’s too dramatic. Maybe they should just be straight about it—sit on the couch together over coffee, or more likely, a drink: bourbon, ginger, bitters, a little lemon, the kind she always makes for him in a small glass with ice. She might sit with him and look out the window and over all that they’ve done together, everything they’ve created, and still know it is all lost to the past anyway. Maybe she would cry. Maybe he would too. Or maybe there would be no tears. Maybe they would have used up everything they had in the build-up to that moment, so that at that point, the fatigue of a relationship overcomes them and they are quiet in their chairs in that room when the shadows take over the floors and the walls and all that is heard is the empty burden of what is absolute then: the love having gone a long time ago slipped from them when they weren’t paying attention.

VII.

She could remember how they never did take a honeymoon. She could remember how they watched a sunset over the water in Baja one time when they thought they knew love. She could go like a butterfly. Or the coyote they saw in a field, trotting in from a distance and surely the postman would stop in his wagon if he came along. They watched from the car, the animal poised in dangerous pursuit of its prey, all of it in the last flicker of day until the coyote ran up into the frustrated hills without dinner, without anything to take his hunger away.

VIII.

Or she could remember how they left Homer’s tomb one morning in Greece, the Aegean spread out behind them like a blue map made up of what they couldn’t know. She could remember how they brushed their teeth on his grave. She could remember how they spit. She could remember how they held hands. She guesses that staying is a probability because of just these memories, that story, those moments. She considers their weighted history over and over again and really, she thinks the complicated details of leaving are the only things that keep her there still. It’s the mechanics, she’ll say.

IX.

She thinks then about the train she once took through France, through Switzerland, through Spain. She rode the early rail and left him in Brussels, though she lingered in the entry to the hostel before she left, sat down on the couch, pulled him to her, let his head fall into her lap, their cheeks flushed from pints of beer. He walked her to the station through a storm and when he left, she sat on the depot floor wishing for coffee and one last night next to him in bed naked and in love. She can’t recall that feeling now. She can’t conjure it in this tired, cold place of leaving.

X.

She could leave by writing the departure. Maybe that’s the best way. Like here. There could be any number of scenes: stomping out of the restaurant throwing her napkin on the floor; sneaking out through the window too late when another man waits in an idling car; running away as if in pursuit chased by children or thieves or…; in the car early in the morning with just the sprinklers and newspaper man; or a surprise retreat when he returns from an errand, the house packed up, or just her things packed up, the door slightly ajar, her coat waiting on the couch, hands fumbling with the zipper of her sweater or her earrings and she thinks perhaps this is the most obvious choice, the most conventional and unoriginal of all departures, the one and only way she can retreat and leave behind the safest thing she’s ever had, this story that was never supposed to end in this way, at this point, in this now.

—Melissa Matthewson

Melissa Matthewson lives and writes in the Applegate Valley of southwestern Oregon. Her essays, reviews, and poetry have appeared in TerrainUnder the Gum Tree, Literary Mama, Prime Number, Hothouse, and Camas, among other publications. She holds an M.S. in Environmental Studies from the University of Montana. She is currently pursuing an MFA in creative nonfiction at the Vermont College of Fine Arts.

 

Feb 152014
 

Abby Frucht

Today a lovely, dense jewel of an essay by Abby Frucht, old friend, colleague at Vermont College of Fine Arts, wise teacher, mistress of the sentence, as in, my goodness LOOK at these sentences, how they surge forward in phrases, surging and then curling back, twisting and slyly turning the tables, subverting expectation, surprising the reader (maybe the writer, too — it must be fun to write like this; Abby makes the sentence itself a journey, adventure, story). I love the little touches: the little girl who ENJOYS staying behind, weeping at the curb, pretending to be friendless, sisterless and alone, and I ENJOY IT EVEN MORE that the people who drive by know that she enjoys pretending to be friendless and alone. Funny and dense with detail: the sister who is now a judge who forgets to use the gavel, the inserted story of the clubfoot woman whose family was massacred on a boat while she slept, and, of course, at the centre, the abominable snowman that the judge-sister still claims to have seen all those years before.

How does Abby invent these things? She wrote me:

“Abominable” is one of a cycle of essays in progress arising from an assortment of notes such as:

That in the past a stack of books would be a burden because it clamored to be read.
Both sons in cage with tiger.
Swans –  Pneumonia.
and
Plashing. In courtyard.  Thing re depth and surface.  Wine has both.
dg

 

On Harriet Lane, when the younger sister and the older sister were four and five, they often trudged past the margins of the modest neighborhood to reach the potato fields in search of stink bugs, box turtles, and the abominable snowman that liked to hide behind the scrappy trees bordering the fields amid worthless allotments of broken fencing, where blackbirds lived. The sisters and the other kids all carried jelly jars with holes drilled into the lids by the sisters’ dad, since the other dads wouldn’t, and though the brown, hinged stink bugs were marvelous to own, because they stank so bad when you opened the jar and stuck your nose in it and screamed and ran away from it but always came back for another sniff, the best part of the hunt was to sink to your knees and sift through the heavier globules of dirt, the soft manure marbles to be rolled to and fro then crushed between your fingers. The younger sister never saw the abominable snowman, since instead of trekking out to the potato fields with the other kids that day, she stayed behind to sit on the curbside and cry, pretending to be a lonely girl who had no friends, not even a sister, which was her favorite thing to do before she learned how to read. Her skinny legs in their ankle socks sticking straight into the road, she enjoyed glancing up from the smear of her crying to watch the cars swing so close as to ruffle her hair, the mothers on their way home from grocery shopping and the milk truck driver and the mail truck driver and sometimes a father or somebody’s babysitter all seeing her crying there on the curbside but just driving by, since they knew it was something she liked to do. But soon the other kids rushed back, their freckles squared by enthusiasm, the unidentifiable pigment of her sister’s eyes, green or brown, no one could say, incandescent with fear and satisfaction. We saw it we saw the abominable snowman it saw us it tried to catch us it chased us it wanted to eat us, they yelled, not including the one other girl who had stayed behind that day, not because she chose to but because her mother, who was ahead of her time, knew in some future lobe of her brain that there would come a day when mothers forbade their children trekking past the safety of the neighborhood into the reek of the muddy fields. The other girl wasn’t even permitted to touch a turtle. She was allowed only to gape at one from no less than three feet away, by which time the legs and the eyes and the funny, grinning beak might not poke into view again. When the girl who liked to sit on the curbside and cry grew up, she met a young woman who had about her the same, authentic, pitiable loneliness as the girl who was forbidden to touch a turtle. This young woman had a terrible history. Everyone knew it. Plus there was nothing appealing about her, since even in her youthful twenties she wasn’t pretty, and she had a genuine clubfoot, this in the middle of the 1980s, for which she walked with a cane and lopsided shoes. When she was a girl, her parents were murdered on the family boat, a pleasure boat or else a boat with some other reason for being in the middle of the sea that night. The girl lay asleep in the outermost v of the V-berth under damp woolen blankets. Another child, a sibling, slept on the moldering bench that went with the foldout dinner table, but the sibling too was tied up and thrown overboard to drown, leaving only the girl with the clubfoot, who as a young woman seemed determined to tell this story to everyone she met, lest the details of her tragedy neglect to crop up by themselves or via the insinuations of other guests at the dinner party, who already knew them all anyway. The story was like the lopsided shoes, since telling it meant she was at least still standing, if unevenly, and though her eyes too were crooked, one bigger or maybe just sadder than the other, she at least had a long distance boyfriend, which made sense since no one ever met him, and then one day she went there and never came back. When the girl who liked to sit on the curbside and cry before she learned how to read turned fifty six, she phoned the older sister to ask if it was true she had seen the abominable snowman or had she only been toying with the younger sister, like playing her as if she were a xylophone by banging the wooden mallet on the crown of her head or hiding her dirty socks in the babysitter’s pocketbook.

“No, I really did see it,” the older sister replied.  She’s a District Court Judge now.  She needs to be custom-fitted for robes but she never bangs the gavel, she always forgets.  “It was huge with yellow fur. The other kids saw it too, we all did except you.  Why are you asking?  Writing a story?”

“Essay,” she answered, and sat a moment on the couch, her legs sticking straight in front of her.  Her legs resemble the dad’s, too skinny, with embarrassing socks.  Before being named judge by the governor of New Mexico, the older sister had considered retiring as a family attorney after twenty-six years in order to help look after her grandchildren, a prospect that had made the younger sister, the one who liked to sit crying and still cries all the time, like in the shower or while riding her bike to the YMCA or at her writing desk or reading novels in bed or fetching orange juice from the kitchen, feel not so bad about weeping, sobbing, crying, wailing, etc. and being gloomy, weary, melancholy, abject, dejected, dispirited, disconsolate, bleak, doleful, disheartened, downhearted and sad. But the older sister’s new judgeship — her robes, her bailiff (a handsome Iraqi war veteran), her fundraising activities, her advocacy of Restorative Justice as a tool in the maintenance of healthy children, her support by a bi-partisan judicial nominating commission moved by her courtroom’s attentiveness to the needs of children, her speeches to unions concerning heroin use among children, her meetings with attorneys general about the law as it pertains to the wellbeing of children, her write-ups in newspapers, her delight in getting up each morning to join her assistant in reviewing the docket in the spacious office suite with the artworks, the expansive but somehow womanly desk, her high heeled pumps, her continued blondeness – makes the sister on the couch feel all the more feckless, pointless, trifling, hollow,  ineffectual, vapid, and good-for-nothing, her dented clogs mocking her unworldliness, the only impact she has on other living creatures being on the family dogs, who steal the breads she bakes from off the counter before her eyes and race away to eat them. To be sure, sometimes she cries over things that matter, like for the man calling out from his tomb beneath the rubble of the factory in Bangladesh and the girl with the clubfoot and whole slaughtered families of African elephants and kids with no supper and the parents of that high school valedictorian who vanished off the hiking trail in Ecuador, but what good does it do?  Not to mention that on other days she cries for no reason.  And though she fears she should find this a monstrous, yellow thing, one that might swallow her up and consume her, she’s okay with her boyfriend only rarely stopping by to put a hand on the curve of her back and offer, “Hon, what’s wrong, Hon?” or, “Hon, pull yourself together, Hon, you’re not two years old, Hon,” after which she dries her tears and starts typing again in the normal way and looking up synonyms. Another thing she asks her sister is: Do you remember the bullet? That bullet a kid chased us with?  It wasn’t a bullet, it was made of glass, it had a filament in it, it was probably only a light bulb but we screamed and ran away from him until one of the dads, not ours because he never hit things, smacked him?

“No,” says the judge.

Just no, as if a simple affirmation of the negative might be all that is needed to solve the problem.

—Abby Frucht

Abby Frucht’s latest book is her collection of stories, The Bell at the End of a Rope, published in 2012 by Narrative Library.
,
,
Jan 142014
 

Patrick J Keane 2

Pat Keane pens here a brilliant essay on Keats, Negative Capability, personality and identity. We humans are a contradictory lot. We yearn for predictability, familiarity, self, home and identity, but, equally, we yearn for vacations, distance, difference and escape from self (falling in love is one of the ways we escape the self). When Keats wrote that famous letter about his friend Dilke wherein he invented Negative Capability, he seemed, yes, to advance the idea that a poet (artist) must leave self, certainty and identity in order to create. But in other works he speaks of “soul-making” as though, rather than losing the self, the poet is creating a self. Pat Keane, vastly erudite (the man is a magician, pulling quotes from his sleeves), does the critic’s job—to make distinctions and find unity—coursing through the letters, digressing on Coleridge and giving a close reading of “Ode to a Nightingale” (among others). This is no dry argument. Keats died young; he wrote in the shadow of his self’s annihilation and yet was “capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason” in the pursuit of beauty.

dg

 

In early November, 2013, Robert Boyers, the founder-editor of Salmagundi (now approaching its 50th anniversary), moderated a conference at Skidmore College on the subject of “Identity.” For two days, a panel of twelve discussed the subject before an audience. Those of us on the panel were given ahead of time an “Anthology of Readings,” full of provocative materials to which, however, we adhered only peripherally since the audience had no access to them. As a sort of preamble to this anthology, Robert provided brief excerpts from Leon Wieseltier’s Against Identity (1996), among which we found this:  “Only one in possession of an identity would understand why one would wish to be rid of it.”

Wieseltier was echoing a phrase from the final section of T. S. Eliot’s “Tradition and the Individual Talent.” According to Eliot, the progress of an artist “is a continual self-sacrifice, a continual extinction of personality.” This process of “depersonalization” is further defined toward the end of the essay, where Eliot undermines the “metaphysical theory of the substantial unity of the soul” since “the poet has, not a ‘personality’ to express, but a particular medium, which is only a medium and not a personality.” Just prior to his conclusion in the short coda—that “the emotion of art is impersonal,” and that “the poet cannot reach this impersonality without surrendering himself wholly to the work to be done”—Eliot had ended the essay proper with the observation Wieseltier plays off: “Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.”

In the midst of these critical assertions, Eliot had cited Dante, Aeschylus, and a passage from Tournier. But he also referred to the “Ode of Keats,” which “contains a number of feelings which have nothing particular to do with the nightingale, but which the nightingale…served to bring together.” It’s Keats I want to focus on here, ending with that “Ode” to which Eliot refers, and concentrating on what the nightingale “served to bring together” in terms of the poet’s wanting to escape from his “identity,” and finally being tolled back “from thee to my sole self.”

Keatspic

From the life mask by B. R. Haydon, 1816, Keats Memorial House, Hampstead; Photograph by Christopher Oxford

Unlike Eliot, but like Wieseltier, Keats spoke, not of personality, but of “Identity,” sometimes registering the loss of personal identity in the process of what William Hazlitt advocated as the “Natural Disinterestedness of the Human Mind,” the subtitle of his Essay on the Principles of Human Action (1805). Adopting and adapting Hazlitt, Keats engaged in empathetic  identification with others, whether persons or things; sometimes celebrating the absence of Identity in a poet; at other times, and finally, embracing it as an ultimate existential achievement.

In an October 27, 1818 letter to his friend Richard Woodhouse, contemplating both the massiveness and the limitations of the power of Wordsworth, Keats distinguishes between the “wordsworthian or egotistical sublime” and his own ideal of “the poetical Character,” that sort “of which, if I am anything, I am a Member.” As conceived by Keats, thinking, as always, of Shakespeare, recalling Hazlitt, and anticipating Eliot, the poetical Character

is not itself—it has no self—it is everything and nothing—It has no character—it enjoys light and shade…It has as much delight in conceiving an Iago as an Imogen. What shocks the virtuous philoso[p]her, delights the c[h]ameleon Poet. It does no harm from its relish of the dark side of things any more than from its taste for the bright one; because they both end in speculation. A Poet is the most unpoetical of anything in existence; because he has no Identity—he is continually in[forming]—and filling some other Body—The Sun, the Moon, the Sea [;] and Men and Women who are creatures of impulse are poetical and have about them an unchangeable attribute—the poet has none; no identity—he is certainly the most unpoetical of all God’s Creatures. (Letters 1:386-87)

Going further, Keats jocoseriously tells Woodhouse that, while it is “a wretched thing to confess,” it is (and here he anticipates the poststructural demystification of the “mistaken” view of the subject as cohesive and self-identical) a “very fact that not one word I ever utter can be taken for granted as an opinion growing out of my identical nature—how can it, when I have no nature?” (Letters 1:387).

This characterless adaptability, this loss of identity, the feeling of being either absorbed in, or “overwhelmed” or “annihilated” by, what is around him, recurs frequently in Keats’s letters and poems. Readers of those remarkable letters are familiar with his self-identifications: flexing his muscles so that he “looked burly,” emulating Spenser’s image of the “sea-shouldering whale”; or becoming the billiard ball rolling across the table; or “if a Sparrow come before my Window, I take part in its existence and pick about the Gravel” (Letters 1:186). There is a particularly touching instance of annihilative empathy: as his younger brother was dying of the same disease that would eventually consume him, Keats felt his own “real self” dissolving in his intense awareness of what Tom was enduring. This capacity is connected with Keats’s “Pleasure Thermometer” passage in Book I of Endymion, and, of course, with his even more famous, influential, and somewhat elusive concept of Negative Capability.

Though it must be measured by the limitations it is encompassed by, the key passage of Book I of Endymion, written in the spring and early summer of 1817, constitutes an answer to the young poet’s question, “Wherein lies happiness?” That answer, couched in poetry occasionally mawkish and marred by the rhyming demands of the couplet-form, nevertheless advances an important theme. Sending along a revision of his initial attempt, Keats, in a letter of 30 January 1818, told his publisher, John Taylor: “I assure you that when I wrote it, it was a regular stepping stone of the Imagination towards a Truth. My having written that Argument will perhaps be the greatest Service to me of anything I ever did—It set before me at once the gradations of Happiness even like a kind of Pleasure Thermometer” (Letters 1:218-19). Answering his own question in the poem, Keats tells us that happiness lies

[space] in that which becks
Our ready minds to fellowship divine,
A fellowship with essence, till we shine
Full alchemized, and free of space.
[space] (Endymion I. 777-79; italics added)

Happiness is measured by its intensity and by our selfless absorption in four ascending gradations of pleasure. The first two involve our sensuous response to natural beauty (exemplified by the tactile feel of a “rose-leaf” on fingers or lips), and to music, from the “sympathetic touch” with which the wind harp “unbinds/ Aeolian magic,” to battle’s “bronze clarions,” to the “lullaby” that occurs wherever “infant Orpheus slept” (777-94). “Feel we these things?” Keats asks rhetorically; if so,

That moment have we stepped
Into a sort of oneness, and our state   [an unrhymed line]
Is like a floating spirit’s. But there are
Richer entanglements, enthrallments far
More self-destroying, leading, by degrees,
To the chief intensity: the crown of these
Is made of love and friendship….(795-804; italics added)

He would later tell Fanny Brawne, “You absorb me in spite of myself” (Letters 2:133). In “love,” this self-annihilating absorption in beauty is so intense that, having “stepped/ Into a sort of oneness,” we melt into that “orbéd drop/ Of light” at the pinnacle of experience.

Melting into its radiance, we blend,
Mingle, and so become a part of it—
Nor with aught else can our souls interknit
So wingedly. When we combine wherewith,
Life’s self is nourished by its proper pith,
And we are nourished like a pelican brood.
(804-5, 810-15; italics added)

In legend and Christian symbolism, the pelican wounds herself to nourish her brood with her own blood. The lover sacrifices selfhood in order to attain unity, or (if one is persuaded by an Idealist or Neoplatonic reading), in order to re-attain a lost Unity. Similarly, lovers of beauty—“full alchemized” and in “fellowship with essence”—become so absorbed in the “thing of beauty” they contemplate that they melt into the object of their love. The crucial point in the passage as a whole is Keats’s emphasis on entanglements and enthrallments that are “self-destroying.”  The “sense of beauty” overcoming and obliterating every other consideration is also the crucial aesthetic point of Keats’s speculations regarding Negative Capability.

 Keatspic

In a December 1817 letter to his brothers George and Tom, Keats reports “not a dispute but a disquisition” with their mutual friend Charles Dilke:

several things dovetailed in my mind, & at once it struck me, what quality went to form a Man of Achievement especially in Literature & which Shakespeare possessed so enormously—I mean Negative Capability, that is when a man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason—Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half knowledge. This pursued through Volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration. (Letters 1:193-94)

Keats was wrong to cite as a counter-example Coleridge—whose system-building was forever being thwarted by his inability to “let go by” the many “isolated verisimilitudes” that became, at worst, digressions and, at best, intuitive insights that imported German Idealism to England and, in the process—as demonstrated in my own Emerson, Romanticism, and Intuitive Reason (2007) and Samantha Harvey’s Transatlantic Transcendentalism (2013)—transformed both British Romanticism and American Transcendentalism. Furthermore, Coleridge’s “Dynamic Philosophy” may, in the present context, help explain the apparent contradiction between Keats’s emphasis on the chameleon poet possessing “no Identity” and, in the “vale of Soul-making” analogy, the imperative to acquire an Identity. Keats’s “disquisition” with Dilke may call to mind, for us, if not for Keats, a seminal passage in Biographia Literaria, beginning with the assertion that “The office of philosophic disquisition consists in just distinction (Coleridge’s italics). But, Coleridge continues, the philosopher must remain

constantly aware, that distinction is not division. In order to obtain adequate notions of any truth, we must intellectually separate its distinguishable parts; and this is the technical process of philosophy. But having so done, we must then restore them in our conception to the unity, in which they actually co-exist; and this is the result of philosophy. (Biographia Literaria 2:11)

In Coleridge’s thought, based on Polarity and the harmonizing power of Intuitive Reason, ultimate unity emerges from, and depends on, the dialectical tension between opposites. Once we have set out, he says, “these two different kinds of force,” it remains for us “to elevate the Thesis,” by “contemplating intuitively this one power” combining “two…counteracting forces,” with their dynamic “interpenetration” achieved “in the process of our own self-consciousness” (Biographia Literaria 1:299). “Thus,” he remarks in a letter, “the two great Laws…of Nature would be Identity or the Law of the Ground: and Identity in the difference, or Polarity=the Manifestation of unity by opposites.” The final, if hypothetical, synthesis would be “the re-union with Nature as the apex of Individualization—the birth of the Soul, the Ego or conscious Self, into the Spirit” (Collected Letters 4:807).

98n/10/huty/12014/28

Though that final phrase may remind us of the “vale of Soul-making,” Coleridge’s conception, no less hypothetical and dialectical than Keats’s, was, unlike Keats’s, theological. In the Biographia, a dozen pages prior to the “interpenetration” attained “in the process of our own self-consciousness,” Coleridge made Identity ultimately equivalent to the divine I AM of scripture: “We begin with the I KNOW MYSELF, in order to end with the absolute I AM. We proceed from the SELF, in order to lose and find all self in GOD” (1:282-83). That lost-and-found process would entail metaphysical self-annihilation, Negative Capability in extremis. Though I occasionally feel the spiritual pull in his poetry and letters, I cannot bring myself to read Keats, even in Endymion let alone the Odes, from a religious or Neoplatonic perspective. What has interested me enough to engage in this “Coleridgean” digression is Coleridge’s dual, apparently contradictory, use of the term “Identity,” and the potential of his Dynamic Philosophy, with its polar fusion of opposites, to help us examine and perhaps reconcile Keats’s two apparently contradictory perspectives on Identity.

To return to the letter on Negative Capability: whatever his misjudgment of Coleridge’s “method” and cognitive processes, these thoughts on Negative Capability codify Keats’s own imperative in engaging a world of “uncertainties” impervious to systemic and total explanation. Since we can rarely get beyond half-knowledge, what is called for, especially in a poet, is a mental and imaginative openness and receptivity. Adumbrating the Shakespearean “quiet power” he finally and fully attained in the ode “To Autumn,” Keats wrote his friend John Hamilton Reynolds on 18 February 1818: “Now it is more noble to sit like Jove tha[n] to fly like Mercury—let us not therefore go hurrying about and collecting honey-bee-like, buzzing here and there impatiently from a knowledge of what is to be arrived at; but let us open our leaves like a flower and be passive and receptive—budding patiently under the eye of Apollo, and taking hints from every noble insect that favors us with a visit” (Letters 1:232-33).

Such hints should be accepted gratefully, not least because they are creatively productive (As Blake put it, using “Keatsian” imagery: “The thankful receiver bears a plentiful harvest.”) To irritably reject them because they cannot be fitted into a larger scheme—“knowledge of what is to be arrived at,” a system of one’s own making—amounts to an egoistic assertion and projection of one’s own identity. Of Dilke, “disquisition” with whom launched these thoughts, Keats later said he “was a Man who cannot feel he has a personal identity unless he has made up his mind about every thing. The only means of strengthening one’s intellect is to make up one’s mind about nothing—to let the mind be a thoroughfare for all thoughts…Dilke will never come at a truth as long as he lives; because he is always trying at it.” (Letters 2:213).

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PencilSketch by Charles Brown 1819Pencil Sketch by Charles Brown, 1819

Reading Hazlitt’s Essay on the Principles of Human Action, Keats learned to see “identity” as a limitation of a prior anonymous subjectivity and receptivity. Cancellation of the ego enhances concern for others, a disinterestedness leading to empathy. But Keats could think of almost no one, other than Socrates and Jesus, who had attained such disinterestedness. The Self and Identity were not so easily jettisoned. Along with Hazlitt’s Essay, it seems likely that Keats also read John Locke’s chapter on “Identity and Diversity” in An Essay Concerning Human Understanding, a volume we know he owned (Keats Circle 1:255). In Book II, Chapter 27, Locke argues that “personal identity” requires “psychological continuity,” an unchanging and unique sameness produced by consciousness and memory. “For it is by the consciousness” an intelligent being “has of its present thoughts and actions, that it is self to itself now, and so will be the same self, as far as the same consciousness can extend to actions past and to come” (sect. 10, p. 451; Locke’s italics). What “preserves” a person “as the same individual,” he concludes the chapter, “is the same existence continued” (sect. 28, p.470; Locke’s italics). In his essay “On Personal Character,” published in March 1821, within weeks of Keats’s death, a now deterministic Hazlitt insisted that “No one ever changes his character from the time he is two years old; nay I might say, from the time he is two hours old….The character, the internal, original bias, remains always the same, true to itself to the very last” (Hazlitt, Complete Works, 16:23-34). By the spring of 1819—reflecting what Hyder Rollins, the editor of Keats’s letters, surmises was his reading of Chapter 27 of Locke (Letters 2:102n)—Keats would posit an identity unique to each person’s “individual existence.” But unlike Locke and, especially, Hazlitt, Keats did not see the self as unchanging and unaltered by experience. Instead he believed, in Aileen Ward’s formulation, in a “gradually developing sense of self which emerges as the individual matures, in reaction to the crises of his emotional experience and from imaginative interaction or identification with the identities of others” (John Keats: The Making of a Poet, 419n14).

The movement from one provisional ideal, that of the poet who “has no Identity,” to its polar opposite, the painful creation of an Identity forged in the experiential crucible of the world, is a Polarity that may be illuminated, as earlier suggested, by Coleridge’s emphasis on opposites requiring a creative act to transform and reconcile them: a reconciliation always potential since “distinction is not division.” Those unfamiliar with Coleridge’s emphasis on bipolar unity may think of the process in terms of Hegelian or Blakean dialectic. One or the other seems to be in the background of Stuart Sperry’s apt synopsis: if in his “expansion of the Negative Capability formulation,” Keats “envisioned poetry as an escape from or transcendence of the limits of identity, it was all the more necessary to see it as the discovery or creation of identity at a level that was more profound” (Keats the Poet, 151). The development—reminiscent of Blake’s dialectical movement from Innocence through Experience to a Higher or “organiz’d Innocence”—culminates in the analogy Keats worked out in the spring of 1819, tracing the development of the formless “intelligence” we possess at birth into a coherent “Identity.”

In the most celebrated pages of the journal-letter to his brother and sister-in-law in America, Keats rejected as “narrow and straitened” the Christian notion of “the world…as ‘a vale of tears’ from which we are to be redeemed by a certain arbitrary interposition of God and taken to Heaven.” Instead, Keats, a religious skeptic, hypothesized the existence of a soul, not because he believed the soul to have ontological status, but in order to advance his own scheme of salvation. He proposes an immanent process of “spirit-creation,” in which our experience of earthly life itself, however painful, is its own reward. “Call the world if you Please, ‘the vale of Soul-making’[.] Then you will find out the use of the world….Do you not see how necessary a World of Pains and troubles is to school an Intelligence and make it a soul? A Place where the heart must feel and suffer in a thousand diverse ways!” These intelligences do not become souls “till they acquire identities, till each one is personally itself,” possessing a “bliss peculiar to each one’s individual existence.” What, he asks, summing up his speculations, was a man’s formless soul before it came into the world and was altered and fortified: “An Intelligence—without Identity—and how is this Identity to be made? Through the Medium of the Heart? And how is the heart to become this Medium but in a world of Circumstances?” (Letters 2:102-4).

Here, Keats’s earlier sense of, even occasional longing for, self-annihilation—Wieseltier’s “wish to be rid of” an Identity, Eliot’s “extinction” of, or “escape” from, personality—is retracted, replaced by an existential, Wordsworthian, even proto-Nietzschean insistence on the crucial need to face harsh, often unregenerate reality, and a positive emphasis on the acquisition of personal Identity, shaped by experiencing a world of difficulty and suffering. The process is creative rather than destructive, a rejection of both Christian and Platonic Otherworldy soul-making, a vision of tragic humanism that is finally an affirmation.

Wordsworth4

It is also Romantic in its fusion of Mind and Heart. This is precisely what Wordsworth had done in the final two stanzas of the “Ode: Intimations of Immortality from Recollections of Early Childhood.” To the penultimate stanza’s emphasis on “thought” and the “years that bring the philosophic mind”—a “necessary” development endorsed by Keats, citing the Ode (Letters 1:186)—Wordsworth added that, even though “the radiance which was once so bright/ Be now for ever taken from my sight,” he still felt the power of nature “in my heart of hearts”:

Thanks to the human heart by which we live,
Thanks to its tenderness, its joys, and fears,
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.  (200-203)

The Ode ends with “tears,” but they are unshed since the “thoughts” evoked by that simple flower are “too deep” for tears. In an earlier letter, to John Hamilton Reynolds on 3 May 1818, Keats says that Wordsworth identifies “the human heart” as “the main region of his song” (Letters 1:279). Keats is misremembering the lines from the “Prospectus” to The Recluse, where Wordsworth identifies “the Mind of Man” as “My haunt, and the main region of my song” (40-41), because he is reading them through the prism of the final lines of the Ode, in which Wordsworth offers praise and thanks “to the human heart by which we live.”

Keats’s own fusions of Mind and Heart are rather more sensuous. He could not have known of the letter of Coleridge I earlier cited in connection with Keats’s own “vale of Soul-making” letter, where, in describing the fusion of two forms of “Identity,” Coleridge personified Polarity as “Male and female of the World of Time, in whose wooings and retirings and nuptial conciliations all other marriages…are celebrated inclusively” (Collected Letters 4:807). But Keats did know, intimately, Wordsworth’s “Prospectus” to The Recluse, which he echoes in the “Ode to Psyche,” where the fusion takes erotic even “nuptial” form in the finale. Keats, who will “build a fane/ In some untrodden region of my mind,” is remembering as well Wordsworth’s “temple in the hearts/ Of mighty Poets” (“Prospectus,” 40-41, 85-86). Echoing in order to alter the Greek myth, Keats, as the goddess’s priest and self-inspired prophet, brings Psyche and Eros together in that heart- and mind-forged temple he has made for her. In one of the most touching of all the many Romantic reconciliations of mind and heart, the poet as devotee of the forlorn goddess replaces the myth’s fatal “lamp,” whose dripping wax awakened the god and drove him away, with “A bright torch, and a casement ope at night,/ To let the warm Love in.”

In the most strikingly “Keatsian” image in the “vale of Soul-making” passage, the Heart is described as “the Mind’s Bible, it is the Mind’s experience, it is the teat from which the Mind or intelligence sucks its identity” (Letters 2:103; italics added). To adapt John Donne, one might almost say of Keats that his body thought. One conclusion is palpable. From his own struggle with a world of painful circumstances, Keats would emerge at last, heart and mind altered and fortified, and in possession of what he had earlier criticized or resisted and what, in any case, had so long eluded him: a strong sense of his own personal Identity. The thinking and feeling Heart having become a “Medium” in the experiential crucible of a “world of Pains and troubles,” the chameleon poet of “no Identity” emerges from the soul-making process with an identifiable Self.

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This same trajectory can be traced, mutatis mutandis, in what Eliot called “the Ode of Keats,” especially when it is placed in the context of Keats’s development up to that point—the same spring of 1819 when he wrote the journal-letter we have been examining. The “Ode to a Nightingale” is generally, or at least most often, read as a poem of Romantic escape from the self or identity (a “wish to be rid of it,” in Wieseltier’s phrase), however induced.  In the most controversial, and reductive, surmise in his fact-filled new biography, Nicholas Roe reads the Ode as Keats’s “Kubla Khan,” laudanum being the “dull opiate” mentioned three lines into the opening stanza:

My heart aches, and a drowsy numbness pains
[space] My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
[space] One minute past, and Lethe-wards had sunk.

The heartache and paradoxically painful numbness are a response to the “happy lot” the speaker attributes to the singer hidden in the foliage, a response intensely empathetic rather than pettily envious:

‘Tis not through envy of thy happy lot,
[space] But being too happy in thine happiness—
[space] [space] That thou, light-wingéd Dryad of the trees,
[space] [space] [space] In some melodious plot
[space] Of beechen green, and shadows numberless,
[space] [space] Singest of summer in full-throated ease.

“The Ode to a Nightingale” is, Roe asserts, “one of the greatest re-creations of a drug-induced dream-vision in English literature” (John Keats, 324). I take the Keatsian caveats seriously; the speaker says he feels “as though” he had drunk hemlock or “emptied” a dulling “opiate to the drains,” and goes on to reject not only poison and drugs but a milder and more enticing intoxicant: that “beaker full of the warm South,/ Full of the true, the blushful Hippocrene,/ With beaded bubbles winking at the brim.” There is ample reason to want to escape human “weariness, the fever, and the fret,” Keats’s restless fricatives recalling Wordsworth’s solace in nature from “the fretful stir/ Unprofitable, and the fever of the world” (“Tintern Abbey,” 52-53), itself recalling death-contemplating Hamlet’s cry, “How weary, stale, flat, and unprofitable/ Seem to me all the uses of this world!” (1.2.133-34). In any case, like the opiate, the wine is rejected as a vehicle to join the nightingale: “Away! Away! For I will fly to thee,/ Not charioted by Bacchus and his pards,/ But on the viewless wings of Poesy.” The dream-vision—escapist, imaginative, or both—is poetically induced and articulated. And, as has been said by Paul Valéry, great poet as well as great critic, “It is the very one who writes down his dream who is obliged to be extremely wide awake” (“Concerning Adonis,” in The Art of Poetry 11-12).

Echoing Hamlet’s desire, in this same opening soliloquy, “that  this too, too solid flesh would melt,/ Thaw, and resolve itself into a dew,” Keats wants to “fade far away, dissolve and quite forget” the world of mutability. Though the “dull brain perplexes and retards,” he will join the nightingale on those “viewless wings of Poesy”: the very word summoning up Keats’s earlier, Spenserian poetry of voluptuous refuge from selfhood and the world of circumstances. “Oh, for ten years,” he had cried out in “Sleep and Poetry” (1816), “that I may overwhelm/ Myself in poesy.” Even there he had anticipated three stages, a journey through the sleepy realm of “Flora and old Pan,” and an erotic paradise of natural repose, until “these joys” are bade “farewell.” For the poet, inspired by a vision of his presiding deity, charioted Apollo, knows that “I must pass them for a nobler life,/ Where I may find the agonies, the strife/ Of human hearts” (90-91, 101-2, 122-25; italics added).

In lines that anticipate the disenchantment of the final stanza of the “Ode to a Nightingale,” Keats is torn between the real and the ideal, struggling to retain, despite the gravitational pull of reality, the memory of this vision of Apollo in his chariot, a vision he skeptically doubts, yet vows to keep alive:

The visions all are fled—the car is fled
Into the light of heaven, and in their stead
A sense of real things comes doubly strong,
And, like a muddy stream, would bear along
My soul to nothingness. But I will strive
Against all doubtings and will keep alive
The thought of that same chariot… (155-61; italics added)

The threat in the Nightingale Ode will come from “the fancy” and (closely related if not identical) the beautiful yet deceptive siren-song of that “light-wingéd Dryad of the trees,/ In some melodious plot.” In “Sleep and Poetry,” the self is threatened with annihilation by a doubled (because post-visionary) sense of the trammels of phenomenal reality: a “muddy stream” reminding us again of Hamlet, this time of drowned Ophelia, whose “garments, heavy with their drink,/ Pulled [her] from her melodious lay/ To muddy death.” These antithetical pulls persist. For Keats, who will cry out later in this poem, “If I do hide myself, it sure shall be/ In the very fane, the light of Poesy” (275-76), is not yet ready for the full burden of the Apollonian vision: the need to engage with full consciousness that “nobler life” where he may find “the agonies, the strife/ Of human hearts.”

Two years later, in January 1818, in the pivotal sonnet “On Sitting Down to Read King Lear Once Again,” he will turn from Spenser to Shakespeare, from that “Siren” and “Queen of far-away,” Spenserian “golden-tongued Romance,” to engage, “once again”—in the process of re-reading Shakespeare’s deepest tragedy—“the fierce dispute/ Betwixt damnation and impassioned clay.” Once again “Must I burn through, once more humbly assay/ The bitter-sweet of this Shakespearean fruit.” By vicariously experiencing the agony of Lear, “bound upon a wheel of fire,” Keats comes to that deeper understanding of human life he adumbrated in “Sleep and Poetry.” He also anticipates emerging from the fire, reborn as a poet of self-knowledge and tragic affirmation: “Let me not wander in a barren dream,/ But, when I am consuméd in the fire,/ Give me new phoenix wings to fly at my desire.” The Lear sonnet’s advance from barren dream to tragic reality and self-knowledge extends to form and meter. Though the octave was Petrarchan, its sestet is Shakespearean, and that final line hyper-metrically enacts the poet’s liberation, its Alexandrine breaking the cage of the pentameter.

All of these stages are re-enacted in the “Ode to a Nightingale.” The opulent beauty of the Ode seems Spenserian, never more so than when, on the “viewless wings of Poesy,/ Though the dull brain perplexes and retards,” the poet suddenly (“Already with thee!”) joins the nightingale in her bower-world of “verdurous glooms and winding mossy ways,” from which mid-region, since “here there is no light,” he guesses at heaven: “Tender is the night,/ And haply [perhaps] the Queen-Moon is on her throne,/ Clustered around by all her starry fays.” In the exquisite fifth stanza, the poet guesses at earth. In “embalméd darkness,” he “cannot see what flowers are at my feet,/ Nor what soft incense hangs upon the boughs,” and so must “guess each sweet/ Wherewith the seasonable month endows” the floral and arboreal world around him. But if the absence of sight liberates the imagination, even the flowers guessed at introduce more than organic fertility and growth. Echoing Oberon’s description of Titania’s bower in Act 2, scene 1 of A Midsummer Night’s Dream (where “the nodding violet grows,” over-canopied “With sweet muske roses and with Eglantine”), Keats’s bower-litany (“the grass, the thicket, and the fruit-tree wild,/ White hawthorn and the pastoral eglantine”) ends with

Fast-fading violets covered up in leaves;
[space][space] And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
[space] The murmurous haunt of flies on summer eves.

Shakespeare’s violet “grows”; Keats’s “fast-fading” violets, the “coming” musk-rose, the projected flies of summer all evoke process, cyclical change, death. The violets’ rapid “fading” recalls, too, the poet’s desire to join the nightingale, wholly integrated into its floral and leafy world and blissfully unconscious of transience and death. Back in stanza 2, the speaker wanted a wine charged with all the joys of earth, “Tasting of Flora and the country green,/ Dance, and Provencal song, and sunburnt mirth,” in order, paradoxically, that he “might drink, and leave the world unseen,/ And with thee fade away into the forest dim.” He longed to “Fade far way, dissolve and quite forget/ What thou among the leaves hast never known”: the world of human fading—where, with Tom behind the abstraction, “youth grows pale, and spectre-thin, and dies;/ Where but to think is to be full of sorrow.” But with the turn into the sixth stanza, he must think, even though the stanza, until the abrupt turn in the final two lines, involves the ultimate dissolution and fading: the dream of escape from a death-haunted world through death itself.

The stanza begins, “Darkling, I listen,” for, along with the murmur of the rose-bosomed flies, Keats hears (as Thomas Hardy later would in “The Darkling Thrush”) the “nocturnal note” of Milton’s nightingale, that “wakeful Bird,” who “Sings darkling and in shadiest Covert hid” (Paradise Lost 3:38-40, marked by Keats in his copy of Milton).

Darkling, I listen; and, for many a time
[space] I have been half in love with easeful Death,
Called him soft names in many a muséd rhyme,
[space] [space] To take into the air my quiet breath;
Now more than ever seems it rich to die,
[space] [space] To cease upon the midnight with no pain,
[space] [space] [space] While thou art pouring forth thy soul abroad
[space] [space] [space] [space] In such an ecstasy….

Keatsfacsimile1

With the nightingale pouring forth her own soul, still singing, precisely at midnight, of summer “in full-throated ease,” that half-loved “easeful Death” seems a consummation devoutly to be wished, a fulfillment of the old prayer that, intoxicated “by the breath/ Of flowering bays,…I may die a death/ Of luxury and my young spirit” come “to the great Apollo/ Like a fresh sacrifice” (“Sleep and Poetry,” 57-61). But in the Ode, Keats is only “half in love” with that prospect, and though he has called on Death in “many” a rhyme to “take into the air my quiet breath,” and it now appears “more than ever” a luxury, he has a second caveat: “Now more than ever seems it rich to die.” For Keats’s long-entertained death wish, his voluptuous morbidity, is here countered by his even stronger, quenchless vitality (“full” is repeated twice more in the second stanza). Having half-embraced a “midnight” death, Keats recoils, realizing the actual consequence: “Still wouldst thou sing, and I have ears in vain—/ To thy high requiem become a sod.” Actual death, not the “easeful Death” of his erotic-aesthetic fantasy, far from being “rich,” would impoverish the listener, reduced to insensate oblivion. The nightingale’s song, an outpouring from her own selfhood inviting the poet to join her in a similarly self-transcending ecstasy, has now become a “high requiem” to which he is deaf. The bird would continue to sing; he would hear nothing. The trance has ended.

The two lines anticipate a truth registered in Keats’s heartbreaking letter, written on 30 September 1820 from Yarmouth, off the Isle of Wight. Aboard the ship on which he was making his final journey, Keats, aware that he was beyond recovery, was haunted by the image of Fanny. “The thought of leaving Miss Brawne is beyond every thing horrible—the sense of darkness coming over me—I eternally see her figure eternally vanishing.” He tells his friend Brown, “I wish for death every day and night to deliver me from these pains, and then I wish death away, for death would destroy even those pains which are better than nothing. Land and Sea, weakness and decline[,] are great separators, but death is the great divorcer for ever” (Letters 2:345).

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With the realization, at this late turning-point of the Ode, that death, far from being the portal to union with the nightingale, would be the great divorcer forever, an unbridgeable breach opens between mortal poet and immortal bird. Precisely what had made its “happy lot” so desirable, singing “of summer in full-throated ease” because it had no consciousness of seasonal change and death, now becomes a painful contrast not just emotional but existential: “Thou wast not born for death, immortal Bird!/ No hungry generations tread thee down,” as they tread down those all-too-aware that they are “born for death.” The voice the poet hears on this particular evening was heard “in ancient days” by high and low, by “emperor and clown.” Revealingly, the nightingale’s song introduces in this, the penultimate stanza, the “forlorn” note with which the final stanza will open. The poet attributes both immortality and identity to that song, though he registers (“Perhaps”) a characteristically skeptical note at the outset of the sinuously beautiful lines that follow. The song the poet, a transient mortal, hears “this passing night,” is

Perhaps the self-same song that found a path
[space] Through the sad heart of Ruth, when, sick for home,
[space] [space] She stood in tears amid the alien corn;
[space] [space] [space] The same that oft-times hath
[space] Charmed magic casements, opening on the foam
[space] [space] Of perilous seas, in faery lands forlorn.

However permanent (“Still wouldst thou sing…”) and identical through the ages, his immortalized Bird’s “self-same song” has different listeners, and the final tonality is forlorn.

Forlorn! The very word is like a bell
[space] To toll me back from thee to my sole self!
Adieu! The fancy cannot cheat so well
[space] As she is famed to do, deceiving elf.
Adieu! Adieu! Thy plaintive anthem fades
[space] Past the near meadows, over the still stream,
[space] [space] Up the hill-side; and now ‘tis buried deep
[space] [space] [space] In the next valley-glades….

Keatsfacsimile2

Like the “fast-fading violets, covered up in leaves,” the music of the nightingale, which had seduced the poet into longing to “fade far away, dissolve,” and forget the world of transience and death, now itself becomes a “plaintive anthem” that “fades/ Past the near meadows,” over the stream, up the hill-side; “and now ‘tis buried deep/ In the next valley-glades.” As in the crucial sixth stanza, the final two lines of the concluding stanza mark a turn, this time in the form of a double-question: “Was it a vision, or a waking dream?/ Fled is that music:—Do I wake or sleep?” The only thing certain is that, like the visionary chariot of Apollo in “Sleep and Poetry,” the music has “Fled.” If  the fading and burial of the bird’s song recall Wordsworth’s “something that is gone,” in stanza 4 of the Intimations Ode, Keats’s final double-question more certainly evokes the double-question with which Wordsworth ended that stanza (for two years his final stanza): “Whither is fled the visionary gleam?/ Where is it now, the glory and the dream?”

Like Wordsworth at that point of his unfinished Ode, Keats is at a loss. “Nothing is got for nothing,” Emerson reminds us, and the ending of the “Ode to a Nightingale” is as poignant as it is perplexed.  The speaker—embodying Negative Capability, “being in uncertainties, Mysteries, doubts”—is left wondering, as are we. Was his response to the song of the nightingale “a vision real” (as he initially wrote, and, significantly, cancelled)?  Or, however glorious, was it a mere waking dream? Was he then truly awake and now in a state of sleep and torpor inferior to imaginative Reality? Or was he merely entranced then, and now once again awake to the reality of human life, however changed he has been by the intervening imaginative experience?

As in the ode it precedes, that on the Grecian Urn, the “Ode to a Nightingale” is based on antithetical pulls: between attraction to ideal beauty, authentic or escapist, and a skeptical, gravitational attraction to the truth, or the illusion, of earthly reality. In the later Ode, the Urn, speaking belatedly (and, for many readers, problematically, even notoriously) reconciles the antitheses, achieving in oracular utterance—“‘Beauty is truth, truth beauty,’—that is all/ Ye know on earth, and all ye need to know’”—what Keats struggled with, in terms of “sensation” and “knowledge,” feeling and thinking, “beauty” and “truth,” as well as in terms of his differing perspectives on Identity. Indeed, the Delphic Urn asserts what Coleridge was laboring all his life to find through philosophy: that elusive bipolar unity. Of course, the Urn speaks (including, as I read and hear the lines, both the Beauty/Truth equation and the sweepingly un-Keatsian generalization) sub specie aeternitatis, a perspective which is, paradoxically, limited. The equation, true within the urn-world, seems, at best, unconvincing in our own “world of Pains and troubles.” But debate persists; it all depends on how we interpret the variously punctuated final thirteen words. “Who says What to Whom at the End of Ode on a Grecian Urn?” as Jack Stillinger famously put it in his astute analysis of the “various possibilities, along with the objections usually raised against each” (111-12).

Our inexhaustible critical interest in Keats’s Odes lies in their opening up the possibility of contradictory, and almost equally plausible, interpretations. In the case of the “Ode to a Nightingale,” though the conflict may not be definitively resolved, the gravitational pull seems paramount. For the thrust of the final stanza is that Romantic reverie must bow before reality: “The fancy,” Keats tells himself and us, “cannot cheat so well/ As she is famed to do, deceiving elf.” While “the fancy” and the poem-long subject and object of that fancy, the nightingale, are not identical, they do seem to melt into a sort of oneness in the final stanza. Is the nightingale—just a stanza earlier, an “immortal Bird” whose changeless song had the power to magically open lofty if fragile “casements”—now reduced, like “the fancy,” to a “deceiving elf”?

The contrast to that deceptive “elf,” emphasized by the very rhyme, is the “sole self” to which the word “forlorn” had tolled back the poet “from thee,” the nightingale. Those who read this return to self negatively often cite a passage from Book II of Endymion, Keats’s first attempt at epic. In the temple of Diana (anticipating the purgatorial shrine of Moneta in the great Induction to The Fall of Hyperion), the young hero is suddenly lost, at the “maw of a wide outlet, fathomless and dim.” In that state of “wild uncertainty,”

[space] thoughts of self came on, how crude and sore
The journey homeward to habitual self!
A mad-pursuing of the fog-born elf,
Whose flitting lantern, through rude nettle-briar,
Cheats us into a swamp, into a fire,
Into the bosom of a hated thing.
[space] (Endymion II. 272-80; italics added)

Earlier in Book II, the fountain-nymph told Endymion he would have to “wander far” and through “pain” before being received “Into the gentle bosom of thy love” (123-27). Now, an elf-like ignis fatuus “cheats us” into “the bosom of a hated thing.” And yet Endymion is driven to plunge through this quest-landscape of Ordeal, even at the cost of the alienating pain of “consciousness”; and in the final book, in synopsizing his entire quest, he bids “farewell” to “visions,” vowing, “No, never more/ Shall airy voices cheat me” (II.283-90; IV.652-54). Together, the passages presage the return-journey to “self” in the “Ode to a Nightingale.” The hidden, “fog-born elf” that “cheats us” seems a negative but largely accurate anticipation of Romantic fancy, that “deceiving elf” said to “cheat.” “Forlorn! The very word is like a bell/ To toll me back from thee to my sole self!” One senses something funereal in the tolling of that bell. “But surely”—as Morris Dickstein has observed in celebrating Keats’s at last taking up “residence, as he has repeatedly promised, in the difficult domain of the ‘sole self’”—the primary meaning “is of an awakening to life; ‘forlorn’ serves as the bell that brings us back from the dream-world of the nightingale and from the faery lands” (Keats and His Poetry, 219). Paradoxically, and because of the poet’s altered response, it is the song of the allegedly “immortal” nightingale that “fades” and is finally “buried deep.” Though the conflicted poet mourns the fading of that enchanting song, in the “bitter-sweet” balance he has attained, schooled by “a World of Pains and troubles,” Keats seems, in this final stanza of the Nightingale Ode,  to endorse (as he does in the “vale of Soul-making” letter) Identity, the “sole self.”

Keatspic

“Only one in possession of an identity,” said Eliot-echoing Wieseltier, “would understand why one would wish to be rid of it.” In his earlier poetry and letters, indeed, earlier in this Ode itself, Keats, seduced by the song of the nightingale and longing to be caught up with it in a self-dissolving transport, wished to be “rid of” his own “identity.” And he remains torn between enchantment and disenchantment, allured by ravishing if dangerous music, which, like Odysseus, he audited in delight, but to which, in the end, he did not succumb. Does that make the ultimate return to the “sole self” a defeat? Paul de Man has asserted that “the condition of the ‘sole self’ is one of intolerable barrenness, the opposite of all that imagination, poetry and love can achieve. The experience of being ‘tolled back to one’s sole self’ is always profoundly negative” (John Keats, Selected Poetry, xxiii). I concur in Morris Dickstein’s adamant rejection; “that,” he says, “is simply not true” (Keats and His Poetry, 221). Despite his attempts to “dissolve,” to “fade,” to avert his eyes from human suffering; despite all the vestigial tensions in this Ode, Keats, in the final stanzas, moves beyond Spenserian Romance, which turns out to be empty and “forlorn,” returning to a grounded Shakespearean (now Keatsian) reality, and to the self-same world and “sole self” which served as the existential basis for his imaginative flight in the first place.

Keats has emerged, here as in the “vale of Soul-making,” from his own struggle with a world of painful circumstances in possession of a strong sense of his own personal identity. This does not mean that he has lost the capacity, the Negative Capability, to relinquish that now altered and fortified identity, “surrendering himself wholly,” in Eliot’s phrase, “to the work to be done.” In the poem he was born to write, “To Autumn,” the last of the great odes, Keats disappears into the sights and sounds of the season. In this poem, the “full-ripened grain” of Keats’s art, there is no ego, no “I.” The one fleeting moment of subjectivity—the ubi sunt double-question, “Where are the songs of spring? Aye, where are they?”—is quickly subsumed in the reassurance to Autumn herself: “Think not of them, thou hast thy music too.” And the funeral dirge for the dying day and season, though orchestrated by Keats (an elegiac diminuendo decreasing in volume, increasing in pitch and clarity), is made to seem her music, not his, even as she hymns her own harvest, her delayed but inevitable disappearance. The sun sets, making the “soft-dying” day “bloom” (life-in-death) and touching “the stubble plains with rosy hue.”

Then in a wailful choir the small gnats mourn
[space] Among the river sallows, borne aloft
[space] [space] Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
[space] Hedge-crickets sing; and now with treble soft
[space] The red-breast whistles from a garden-croft;
[space] [space] And gathering swallows twitter in the skies.

Keatsfacisimile3

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Keatsfacsimile4

In a sonnet Shakespearean both in form and Negative Capability, Keats reminds us of this ode’s unspoken but ever-present parallel: “Four seasons fill the measure of the year;/ There are four seasons in the mind of man.” Following man’s “autumn, when” he is content “to look/ On mists in idleness—to let fair things/ Pass by unheeded as a threshold brook,” the sonnet ends with a human/seasonal memento mori: “He has his winter, too, of pale misfeature,/ Or else he would forego his mortal nature.” In the ode, autumn’s “full-grown lambs” look back to spring, while the post-harvest sounds (rising from bleat, to sing, to whistle, to twitter) and the gathering swallows herald the approach of winter. But winter is merely hinted at; even the migration of the swallows is left implicit, as, gathering, they “twitter in the skies.” The poet’s own thoughts of mortality remain liminal; they never intrude. Autumn has her own music to the end.

Each season, each stage of life, has a distinct “identity and beauty which man can appreciate by disengaging his own ego” (David Perkins, The Quest for Permanence, 294). We rightly think of this ego-less, autumnal poem as essentially “objective,” and the Nightingale Ode as highly “subjective,” rounding as it does from the opening “My heart aches,” through the flight of imagination, to the rondural tolling back to the poet’s “sole self.” The last word of John Keats’s final ode may be “skies,” but “To Autumn,” moving through its own diurnal and annual cycle, is, even as its music recedes from earth, an earth-centered poem—as, in the end, is the “Ode to a Nightingale.” As Helen Vendler has noted in the “Conclusion” to her book-length study of the Odes, “Keats is unsparingly faithful to his own sense of the artifice necessary to creation; but he remains as well the greatest celebrant, in English, of the natural base without which no art and no identity would be possible” (The Odes of John Keats, 294).

In “To Autumn,” art and identity, art and the natural base, coalesce. Here, at last, beauty and truth seem as distinct yet indistinguishable as the leaf, blossom, and bole that comprise Yeats’s “chestnut-tree, great-rooted blossomer.” Nor (to cite Yeats’s final image of unity of being in “Among School Children”) “can we know the dancer from the dance,” the performer from the work of art, the Eliotic “poet” from his “particular medium.” Keats was never more identifiaby Keats than in “To Autumn,” where he is an absent presence, a poet of “no Identity.” For here, his “sense of Beauty over[coming] every other consideration,” he is “continually… filling some other body,”  having “stepped/ Into a sort of oneness” with Nature, as in Coleridge’s unrealized nuptial vision of “Identity” as alienated man’s “re-union with Nature.” Though terrestrial Keats could only half-identify with the eternal song of that light-wingéd Dryad of the trees, the immortal Nightingale, he may fully identify with the gathering swallows that twitter in the skies. Yet even here there is a poignant distinction. Keats knows that, unlike them, he will not be part of a migratory let alone eternal recurrence. Even when “no Identity” weds Identity, death is the great divorcer forever. In echoing Keats’s final cadences and imagery, Wallace Stevens, in the final lines of “Sunday Morning,” made Keats’s elegiac music less subtle but more explicit: “the quail/ Whistle about us their spontaneous cries;/ Sweet berries ripen” in the wild,

And, in the isolation of the sky,
At evening, casual flocks of pigeons make
Ambiguous undulations as they sink,
Downward to darkness, on extended wings.

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Coda

Montecito CA

This essay on “Keats and Identity” began with Leon Wieseltier’s observation that “Only one in possession of an identity would understand why one would wish to be rid of it.” His latest   “Washington Diarist” column (The New Republic, 9 December 2013), titled “Binocular,” is a moving meditation on things more important than politics, enough so for me to incorporate it as a coda. The essay is set in Montecito, an “impossibly lovely” town between the Santa Ynez Mountains and the sea. “Perched on a large rock facing the ocean,” and “saturated in the noontime light,” Wieseltier escapes all sense of “care.” Momentarily “rid of” his identity, he experiences an “exciting sensation of insubstantiality” a Keatsian dissolution of the self. A thin woman arrives and spreads a towel. He notes her “beautiful gray hair,” her “pleasant Californian smile,” and watches as “she lifted her face toward the light. I could see her sighing with gladness to be in the sun.” Sharing with her what Wallace Stevens, in “Sunday Morning,” has his female persona “find in comforts of the sun,” he enjoys “a moment of solidarity with her.”

But then she reaches into her bag and removes two well-thumbed and “desperate” books: The Art of Healing Cancer and A Cancer Battle Plan Sourcebook. Wieseltier “can hardly describe the shock to my mind. The entire scene was transfigured by my discovery of the woman’s circumstances… The light shone no longer upon beauty but upon tragedy. She was gaunt, she was a fugitive, and she was dying; and I felt pity. The magnificence of creation was suddenly dwarfed by this thin, doomed creature.” I read these words earlier this morning with a shock of recognition, since, in thinking and writing about the “Ode to a Nightingale,” and the magnificent final stanzas of “To Autumn” and “Sunday Morning,” I had been haunted by memories of my first girlfriend, now, like Wieseltier’s woman on the beach, battling cancer.

When that woman on the beach at Montecito got up, stepped toward the ocean, and “stood there staring at the glittering world,” Wieseltier was reminded of the Irish custom of “taking the last look.” He had first heard of the custom, he tells us, in a Mellon lecture, later incorporated into a book, a “subtle and affecting study of the poetry of dying.” The lectures and the book, Last Looks, Last Books (2011) are by Helen Vendler, whom Wieseltier goes on to quote. “How,” Vendler asked, “can…a poem do justice to both the looming presence of death and the unabated vitality of spirit?” What is required, she says, is a “binocular style”: a variation on Coleridge’s “bi-polar unity,” though, unlike Coleridge and like Keats, Wallace Stevens and the four other modern American poets Vendler discusses had to confront death without religious consolation. During his initial idyll in the sun, Wieseltier had escaped from all troubles: “beyond caring,” but “with none of the cruelty the phrase implies.” Though he realized that it was “a temporary escape,” he really “wished,” during that momentary respite, “to be emptied” of the world’s pains and troubles. Wieseltier’s short-lived illusion of “escaping” the cares of the world, as well as Helen Vendler’s exemplification of the need, in a poetry of dying, to register “both the looming presence of death and the unabated vitality of spirit,” illuminate not only “The Ode to a Nightingale” and “To Autumn,” but many of Keats’s other poems, as well as his life and letters.

They also illuminate the state of mind of my ex-girlfriend, with whom I’m still in touch and to whom I just wrote a letter. Yesterday she completed phase one of her chemo treatments, and on the day I’m writing, she is having her first stem-cell infusion. According to a mutual friend, the process is painful, with more pain to come. He knows. Both have multiple myeloma, a horrible, incurable form of cancer. My friend has survived for an astonishing nine years, a tribute to excellent medical care and to the retention of some of the extraordinary physical strength he displayed when we were getting in fights back in the Bronx. In contrast, my girlfriend was always delicate. Yet, while under no illusions, she’s facing her situation with courage, “unabated vitality of spirit,” and the same humor I remember from all those years ago, when we were in love in the Bronx. Her vision is binocular, her face lifted to the sunlight, even as she is acutely aware of the looming presence of death. With her example in mind, as well as that of Keats as a writer and as a man, I’m trying, in Vendler’s phrase, to “do justice to both.”

Wieseltier ends his meditation on mutability by noting that, as a caring person in his everyday life, “I was binocular.” At the beach, during that care-obliterating moment of noontime sun and glittering ocean, “I became monocular.” But “care” and the “identity” he wished to be “rid of” suddenly re-emerged in his Keatsian epiphany: “the entire scene was instantly transfigured by my discovery of the woman’s circumstances.” For one’s “Identity” is “made” through the medium of the heart, “and how is the Heart to become this Medium but in a world of Circumstances?” Wieseltier concludes, as Keats had, fusing restored identity with an empathetic identification with others. “When I left the beach I was binocular again. An old and frail friend was waiting for me to pick him up for lunch, and he needed help getting in and out of the car.”

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Keatspic

John Keats (1795-1821): A Biographical Endnote

john-keats

The richness and meteoric improvement of his poetry, the intellectual brilliance and human warmth of his letters, and the tragic brevity of his life have combined to make John Keats the best loved of all poets writing in English. In one astonishing year, 1819, Keats wrote two great medieval romances (“The Eve of St. Agnes” and “La Belle Dame sans Merci”) and two powerful epic fragments (Hyperion and The Fall of Hyperion) fusing Greek myth with an inquiry into human suffering. But for most readers, the height of Keats’s achievement is the remarkable 1819 sequence of odes, culminating in the flawless ode “To Autumn,” composed in September. It was preceded by the odes written that spring: “Ode to Psyche,” “Ode to a Nightingale,” “Ode on a Grecian Urn,” and “Ode on Melancholy”: beautifully constructed poems employing language of almost unparalleled richness to explore the tensions between imaginative creativity and human mutability, between vision and reality.

It is hard to separate the poetry from the young man who wrote it. Conceiving of life heroically, not as a vale of tears but as a “vale of Soul-making,” in which an identity is forged through suffering, Keats responded courageously to his own ordeals. Both his parents died when he was a boy, his mother of the same tuberculosis that would later claim both Keats’s younger brother, Tom, whom he lovingly nursed to the end, and, three years later, Keats himself. During the months he spent in Italy wasting away from consumption, Keats alternated between hope for posthumous fame and understandable bitterness at the mortal illness that had thwarted his poetic ambitions and separated him from the young woman he loved, Fanny Brawne. (Jane Campion’s 2009 film Bright Star is based on Keats’s love letters to Fanny.)

“I think I shall be among the English poets after my death,” he said in 1818; but during the hopelessness of what he called his “posthumous life” in Italy, Keats directed that the only words to appear on his tombstone should be, “Here lies one whose name was writ in water.” He died, after much agony, on February 23, 1821. He was twenty-five, and had been unable to write for almost a year. The extraordinary swiftness and sureness of Keats’s development as a thinker and poet, a record of rapid growth unparalleled in literary history, intensify the sense of tragic waste all readers feel at the cutting short of so remarkable a genius. But what, in the few short years given him, he did accomplish, combined with the lovable personality revealed in his letters, ensure that John Keats will always have a prominent and especially cherished place “among the English poets.”

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Works Cited

Coleridge, Samuel Taylor. Biographia Literaria, ed. James Engell and W. Jackson Bate. 2 vols. Princeton UP, 1983.

_____________________. Collected Letters of Samuel Taylor Coleridge, ed. E. L. Griggs. 6 vols. Oxford: Clarendon P, 1956-71.

de Man, Paul. Introduction to John Keats: Selected Poetry. New American Library, 1966.

Dickstein, Morris. Keats and His Poetry. U of Chicago Press, 1971.

Eliot, T. S. “Tradition and the Individual Talent” (pp. 3-11), in Eliot, Selected Essays. New Edition. Harcourt, Brace & World, 1964. pp. 3-11.

Harvey, Samantha. Transatlantic Transcendentalism: Coleridge, Emerson, and Nature. Edinburgh UP, 2013.

Hazlitt, William, Essay on the Principles of Human Action: The Natural Disinterestedness of the Human Mind (1805); “On Personal Character” (1821); both in The Complete Works of William Hazlitt, ed.  P. P Howe. 21 vols. Dent, 1930-34.

Keane, Patrick J. Emerson, Romanticism, and Intuitive Reason. U of Missouri P, 2007.

Keats, John. The Letters of John Keats, 2 vols., ed. Hyder E. Rollins. Harvard UP, 1958.

________. The Poems of John Keats, ed. Miriam Allott. Longman-Norton, 1970.

________. The Keats Circle, ed. Hyder E. Rollins. 2nd edn. 2 vols. Harvard UP, 1965.

Locke, John. “Identity and Diversity,” in vol. 1 (pp. 439-70), of An Essay Concerning Human Understanding, 2 vols. Collated and annotated by Alexander Campbell Fraser. Dover, 1959.

Perkins, David. The Quest for Permanence. Harvard UP, 1959.

Roe, Nicholas. John Keats: A New Life. Yale UP, 2013.

Shakespeare, William. A Midsummer Night’s Dream, Hamlet, and King Lear; in The Riverside Shakespeare. Houghton Mifflin, 1974.

Sperry, Stuart. Keats the Poet. Princeton UP, 1973.

Stevens, Wallace. Wallace Stevens: Selected Poems, ed. John N. Serio. Knopf, 2009.

Stillinger, Jack. “Appendix” (pp. 111-12) to Twentieth Century Views of Keats’s Odes, ed. Stillinger. Prentice-Hall, 1968.

Valéry, Paul. “Concerning Adonis,” in The Art of Poetry. Pantheon, 1958.

Vendler, Helen. The Odes of John Keats. The Belknap Press of Harvard University Press, 1983.

____________. Last Looks, Last Books: Stevens, Plath, Lowell, Bishop, Merrill. Princeton, 2011.

Ward, Aileen. John Keats: The Making of a Poet. Viking Press, 1963.

Weiselter, Leon. Against Identity. W. Drenttel, 1996.

____________. “Binocular.” The New Republic. 9 December 2013.

 Wordsworth, William. Wordsworth: The Poems. 2 vols., ed. John O. Hayden. Yale UP, 1981.

 Yeats, W. B. W. B. Yeats: The Poems, ed. Daniel Albright.  Everyman’s Library, 1992.

— Patrick J. Keane

 

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), andEmily Dickinson’s Approving God: Divine Design and the Problem of Suffering(2007).

Contact: patrickjkeane@old.numerocinqmagazine.com

Nov 042013
 

daffodil

The other day Pat  Keane dashed off 10,000 words on Wordsworth’s daffodils and sent them to me wondering if I might want them for Numéro Cinq. He starts off with a detour through the mine field of contemporary American literary criticism, the still fresh battles fought between the proponents of intrinsic criticism and extrinsic criticism, the New Critics who value “close reading” and the contextual critics who bring in tradition, influence, history, biography and sometimes psychoanalysis to help explain a poem. Helen Vendler’s analysis of the Wordsworth poem stands as an example of the former and after giving it fair due, Pat launches into what he whimsically calls “a few contextual elements” — those, um, 10,000 words more or less, starting with Dorothy Wordsworth’s journal entry (see facsimile page below) on the day she and her brother saw the daffodils and ending with Immanuel Kant’s immortal line about the starry heavens and the moral law. This is a gorgeous essay on criticism, on the provenance of a poem, and on Wordsworth (and his sister) — also a wonderful re-visioning of a poem that sometimes is difficult to see because it has, yes, become oh so familiar.
dg
As my doubly plural title indicates, I’ll be wandering beyond the received text of one of the most familiar poems in the literary canon, “I Wandered Lonely as a Cloud”—Wordsworth’s best-known poem, though demoted by some to “that damned thing about daffodils.” Since its initial publication, in 1807, the poem has been parodied and admired, despised and exalted. Today, though it can still produce an occasional groan, it is generally ranked among Wordsworth’s small triumphs, one of his self-described “simple songs for thinking hearts.” That simplicity is complicated by the fact that, while we rightly consider it one of Wordsworth’s “signature” poems, it bears the signature of more than one Wordsworth; indeed, of more than two. Yet it remains quintessentially “Wordsworthian,” both intrinsically and thematically. For “I Wandered Lonely as a Cloud” gives us, writ small, the theme—“the spontaneous overflow of powerful feelings…recollected in tranquility”—of such indisputably major poems as “Tintern Abbey,” the opening Book of Wordsworth’s autobiographical epic, The Prelude, and the great “Ode: Intimations of Immortality from Recollections of Early Childhood.”[1]
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The mixed reception of the Daffodils poem is not an anomaly. Wordsworth’s road to recognition was a rocky one, and even after he had “arrived,” he was still subjected to withering criticism. No one who has read it can ever forget the opening of Francis Jeffrey’s Edinburgh Review reception of Wordsworth’s long-awaited epic poem, The Excursion. When it finally appeared, in 1814, Jeffrey famously dead-panned, “This will never do.” It’s hard for us to know whether to laugh or to cry; Wordsworth did neither. Seven years earlier, his friend and admirer, Margaret, Lady Beaumont, underestimating the “invincible confidence” of the poet, thought he would be distressed by the disparaging reception of Poems, in Two Volumes (1807). Responding, Wordsworth pronounced himself unperturbed by temporary attitudes. Quoting another friend well known to Lady Beaumont, he insisted that a “great and original” poet “must create the taste by which he is to be relished; he must teach the art by which he is to be seen.”[2] That was certainly the case with Wordsworth, who endured savage, often belittling criticism before he eventually triumphed, becoming the dominant poet of the 19th century, and, after a brief decline in the earlier twentieth century, reemerged in our own time as a monumental figure—widely, if not universally, considered the major poet to have written in English between Milton and Yeats.
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samuel

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The friend Wordsworth quoted to Lady Beaumont was, of course, Samuel Taylor Coleridge, who inspired, and was inspired by, Wordsworth and who, as a critic, did more than any other single figure to advance the case for Wordsworth as a major poet. But he was also aware of “defects” in his friend’s poetry, and readers who continue to resist that “damned thing about daffodils” will be heartened to know that he, too, thought that whatever flashed “upon that inward eye,” it ought to have been something rather more momentous than a bunch of “daffodils,” which he italicized to emphasize the trivial nature of what was being “retrospected.” As we shall see, given what he considered the bathetic emphasis on mere daffodils, he judged what have become the most famous lines in the poem—“They flash upon that inward eye/ Which is the bliss of solitude”—to be an example of “mental…bombast.”[3] As we’ll also see, though Coleridge presumably didn’t know it, those two lines were actually not written by Wordsworth, at least not by William Wordsworth. But this takes us outside the autonomous, internal world of the poem, and I want to begin with an intrinsic reading.

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The Daffodils and Helen Vendler

helenvendler

Helen Vendler

1

As it happens, the critic and teacher generally recognized as the most acute living exponent and practitioner of intrinsic criticism, Helen Vendler, writes at length about “I Wandered Lonely as a Cloud” in the third edition of her superb text for college students, Poems, Poets, Poetry.[4] After a brief two-page analysis of Robert Herrick’s “Divination by a Daffodil,” she devotes the remaining pages of her 11th chapter, “Writing about Poems,” to Wordsworth’s daffodils poem. As an intrinsic critic, Helen Vendler preaches and practices close reading, or explication. For her, a poem is essentially an autonomous artifact, a work of art to be experienced in and of itself. And it is to be experienced, she says (323, 329-31) in two somewhat different but equally indispensable ways: temporally (unfolding itself in time, with a beginning, middle, and end) and spatially (viewed from a distance as a space full of elements set in relation to each other). Vendler is, of course, aware of authorial and historical contexts:  who the author is, when he or she wrote, and under what circumstances. But in examining and writing about a poem, she is primarily engaged by the interrelated elements within the particular text itself—its words, families of words, sentences, sounds (alliteration and assonance), rhyme and rhythm, etc.

As one can see from what she has to say about many of the poems in her book, not least “I Wandered Lonely as a Cloud,” this focus on close reading is immensely illuminating. Praising “a good paper,” the sort she wants students to write, Vendler says such a paper “leaves your readers, when they come back to the poem, feeling ‘Oh, yes! And yes! Of course!’ It makes readers see aspects of the poem they may not have noticed themselves, in their more cursory reading of the poem, but now see clearly because you have showed them those things” (336). This is precisely Vendler’s own great gift. “Yes, of course; why didn’t I see that for myself?” so many of us have said over the years, responding to one or another of her brilliant close readings: explications which clarify almost everything. I said “almost everything” by design—as Browning’s Duke says in “My Last Duchess”—because, in her emphasis on the internal dynamics of the individual poem, Vendler omits most external factors. She’s perfectly aware of the contexts beyond the poem.  As she says herself of this particular poem, “I Wandered Lonely as a Cloud”: it can “be set in larger frames,” for example, “among other Wordsworth poems,” or “among other Romantic poems,” or “among poems about memory; and so on” (336). As I’ve already suggested, I will be exploring, among others, precisely those “larger frames”; but, even then, there is much to be said in favor of close reading.

There was a time, prior to the advent of the modern pioneers of close reading, the so-called “New Critics” of the 1940s and ‘50s, when it was perfectly acceptable for college professors, supposedly discussing with their students such a poem as (to choose an example once cited by the critic Richard Fogle in demonstrating old critical shortcomings) Wordsworth’s “Tintern Abbey,” to say little or nothing about how the poem actually “worked.” Instead, they would lecture about the “occasion” of the poem (the tour made by Wordsworth and his sister Dorothy); about the intense personal and literary relationship between the Wordsworths and Coleridge; and about the political context in which the poem was written (the era of the French Revolution, of which Wordsworth and Coleridge were initially ardent enthusiasts). And then, as class-time was running out, the professor would conclude by saying something like: “as for the poem itself—ah, beautiful, is it not!” This was not good enough: indeed, it was just such cursory, or negligent, treatment of poems that gave rise to the New Critics.

It’s not that such contexts don’t matter. Indeed, they mattered to Wordsworth himself, who sometimes incorporated them into the poem, or at least its title. For example, he makes sure, toward the end of “Tintern Abbey,” that readers realize that his sister has been present all along, as a silent auditor (making the poem a kind of surprise dramatic monologue). In addition, his own long title —“Lines Composed a Few Miles above Tintern Abbey on Revisiting the Banks of the Wye During a Tour”—gives us the precise circumstances of the poem’s composition. And his inclusion of the date, “July 13, 1798,” one day short of Bastille Day, the anniversary of the outbreak nine years earlier, of the French Revolution, is intriguing since the poem itself says nothing about politics, an absence which is itself not without interest.  Unfortunately, too many historically-sophisticated critics, especially the so-called New Historicists, have so emphasized this “absence” or “political evasion” on the part of Wordsworth—what is “repressed” or “not said” in the poem—that they de-emphasize what is there, actually present in the poem. Reading through the prism of politics offers its own illuminations, but this re-swinging of the critical pendulum has ironically brought us back to the situation earlier addressed by the intrinsic critics who preceded Helen Vendler: the need to read a poem as a poem, and not as something else, either a political tract or a “message.” In The Prelude and elsewhere, Wordsworth can hardly be said to avoid politics. But a poet has the right to choose his own subject matter and theme; in “Tintern Abbey,” his focus is on his psychological-imaginative engagement with the landscape.[5]

Wordsworth2

2

Vendler begins her discussion of “I Wandered Lonely as a Cloud,” by printing the poem in its final version, accompanied by an imaginary student’s running commentary, noting the poem’s four-beat meter and ababcc rhyme scheme, and raising questions.

I wandered lonely as a cloud
That floats on high o’er vales and hills
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.

The waves beside them danced; but they
Outdid the sparkling waves in glee;
A poet could not but be gay,
In such a jocund company;
I gazed—and gazed—but little thought
What wealth the show to me had brought:

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.   (WP 1:619-20)

Vendler’s hypothetical student, annotating the opening stanza, wonders why the “lonely” speaker is “like a cloud”; notices the natural scene of hills and valleys; and that “crowd,” generally used of people, here refers to flowers, as does “host,” usually describing “armies” (he or she omits “angels”); then remarks that the line “Beside the lake, beneath the trees,” offers a “closer focus than vales and hills.” The final line of the stanza prompts the student to ask how rooted flowers can be said to “dance”? With the second stanza’s “much further focus—up to the stars,” the student wonders about the “difference between shine and twinkle”; marks the expansion of never-ending and ten-thousand; notes that “saw becomes glance”; and that the dancing daffodils become people, tossing their heads. The waves of the third stanza are “like people too, dancing,” and the “flowers have feelings: glee.” The jocund company indicates that the speaker is “not alone anymore.” The crucial transition from saw to glance to gazed and gazed is noted, as is the glance back to golden in stanza 1 implicit in this stanza’s reference to wealth and show (itself a shift from company). Of the opening of the fourth and final stanza, For oft, the student notes, “past anecdote over, now present tense,” and follows that accurate observation with a flurry of marginal questions: “Difference between vacant and pensive? Flash; not dance or flutter or toss: why? Solitude: different from first lonely? Earlier, eye (outward and inward); now heart?” Finally, the student, observing “same rhyme-sound as in stanza 1,” has noticed at least the rhyme on daffodils in both the opening and closing stanzas.

Vendler then turns to the poem’s words, suggesting that students consult a dictionary to “check out etymologies and different connotations,” since poets have a “very specific sense of the aura around each word.” Her own search reveals words with roots in Old English (crowd, shine, twinkle, bliss), Middle English (glance, glee, gaze, flash), Latin (host, jocund, vacant, pensive, solitude), French (gay), and Greek, since daffodil itself derives from the Greek asphodelos. Wordsworth, she suggests, is “balancing” words, the Latinate (Latin-French) with the Germanic (Anglo-Saxon). She also notes the “families” of words that “help to organize the poem,” focusing on four inter-related clusters: “Glee, gay, and jocund  (a family of being happy, in terms of both meaning and—in the case of the first two—alliteration); Glance, glee, gay, gaze (words connected by alliteration, joining looking and happiness); Saw, glance, gaze (a family of looking); and Float, flutter, shine, twinkle, toss, flash, fill (a family of verbs of motion).”

Discussing sentences and rhythm, Vendler notes that the first two stanzas are periodic; the sentence is the stanza. But, despite our expectation that the pattern will continue, the third and fourth stanzas “together make up the third sentence,” with the “hinge” that joins them “the couplet, ‘I gazed—and gazed—but little thought/ What wealth the show to me had brought.’ This couplet leads into the exemplification of the ‘wealth’ in stanza 4.” And since the “third sentence is twice as long as the other two,” it “bears twice the weight.” The poem’s ababcc rhyme-scheme suggests, says Vendler, an initial statement (the quatrain) followed by an additional observation (the couplet). Of rhythm, she notes that the basic iambic beat of the first five lines is purposefully disrupted in the sixth line, where, “to emphasize the unexpected motion of the flowers,” Wordsworth shifts to a strong syllable followed by a weak: “Fluttering.” She concludes her thoughts on this subject by observing that a “careful reader will see that for his concluding rhyme (‘fills/ daffodils’) Wordsworth has reused one of the rhyme-sounds from his first stanza (‘hills/ daffodils’), giving us a strong sense of the end coming back to the beginning.” (In fact, if we count slant-rhyme, Wordsworth may be said to have reused two rhymes, the final stanza’s “mood” and “solitude” obliquely chiming with the first stanza’s “cloud” and “crowd.”)

Most importantly, Vendler invites us to look at the poem temporally, then spatially. We examine the poem temporally to see what changes we can observe as it moves from A (the opening, with the speaker lonely, as “unconnected to the world as a cloud when floating high above the earth”) to Z (where, though “still alone,” he is “no longer lonely,” since “now he feels the bliss of solitude”). How does Wordsworth move us, persuasively, from A to Z, the point at which, alone in his room, “suddenly, unasked, the daffodils flash into his mind so vividly that he sees them with his ‘inward eye’,” filling “that empty container, his heart,” with a pleasure that recaptures “his previous pleasure on that apparently forgotten day”? How does he convince us that the daffodils have “indeed lasted intensely in his mind, without any conscious effort on his part?” The explanation lies in “all the verbs of motion, all the verbs of seeing, all the verbs of delight”—in short, those “families” of words earlier discussed. Now it is the job of the reader-critic to see, along with much else, precisely how those verbs are deployed in the poem.

Looking at the poem spatially, Vendler draws our attention to three descriptive “glances” at the same phenomenon.” The first glance (“I saw”) shows us the daffodils as many (“a crowd, a host”), in a landscape (lake, trees), and in motion (“fluttering and dancing”). The second glance (“at a glance”) shows us the daffodils as many (like “stars that shine/ And twinkle on the milky way,” “ten thousand”), in a landscape (“along the margin of a bay”) and in motion (“Tossing their heads in sprightly dance). The third glance (“I gazed—and gazed”) shows us the daffodils as many (“a jocund company”), in a landscape (“waves beside them”), and in motion (“they/ Outdid the sparkling waves in glee”). If we considered these three descriptions temporally, we would distinguish between “seeing, glancing, and gazing.” But in considering them spatially, as three reiterated versions of “the same thing” (such “repetition” is actually “intensification”), what marks the daffodils is that (a) they are not alone, but many; that (b) they  feel “at home” in their natural setting; and that (c) “they are not gloomily rigid but in joyous motion responsive to the waves and the breeze.” As Vendler suggests without dwelling on the point, Wordsworth’s prepositions play a crucial role in positioning the daffodils and integrating them into their natural world. They are “Beside the lake, beneath the trees,/ Fluttering and dancing in the breeze,” “stretched in never-ending line/ Along the margin of a bay,” beside “the waves.”

We also notice that the poem, still being examined spatially, is divided into two parts: “outdoors (stanzas 1-3 and indoors (stanza 4).” The outdoor part, in the past tense, tells of the particular day when the poet saw the daffodils; the indoor part, “phrased in the habitual present tense (representing something that happens often), removes the daffodils from a physical scene (in nature) to a virtual scene (in the mind). Wordsworth makes explicit, at the end, the connection between what the eye has seen, glanced at, and finally gazed at (imprinting the scene firmly) and what the heart feels.” Bringing the daffodils indoors, Wordsworth wants us to “recognize that the poem has been brought to closure.” (330-31)

The interaction between speaker and flowers is made credible by the alternation between them. The speaker governs the first sentence, with the daffodils the objects of his observation; but this governing function changes, producing “an antiphonal structure of alternation…in which the poet and the daffodils engage in a ‘syntactic dialogue,’ as first one predominates, then the other. We ‘believe in’ the speaker’s interaction with the daffodils because the poem shows it happening.” In case we missed it, Vendler points out that Wordsworth has put the word dance, in one or another of its variants, in each stanza: dancing; dance; danced, dances. And we notice that “the word dance alliterates with daffodils, making them ‘belong’ together phonetically” (331). At this point, it’s up to the student to write an essay about how the poem “works,” and Vendler devotes the remainder of this chapter (332-40) to suggesting a variety of potentially fruitful approaches to the poem and to ways to organize a coherent and persuasive essay.

 SPACE

The Daffodils in Context

daffodils

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Thanks to astute observation of the sort she wants students to emulate, Vendler has provided all the preliminary spadework as well as the framework for an intrinsic analysis. I will be doing my own share of close reading; but before returning to “I Wandered Lonely as a Cloud,” I want to bring in a few contextual elements, extrinsic to the poem, at least until its final form. To begin with, we can locate the actual incident that inspired the poem. As by now everybody knows, or else should know, the genetic episode was recorded by Dorothy Wordsworth in her Journal for Thursday, 15 April 1802. She tells us that she and William came across many flowers on this memorable walk, including the Lesser Celandine, that

starry yellow flower which Mrs C[larkson] calls pile wort. When we were in the woods beyond Gowbarrow park we saw a few daffodils close to the waterside. We fancied that the lake had floated the seeds ashore and that the little colony had so sprung up. But as we went along there were more and yet more, and at last, under the boughs of the trees, we saw that there was a long belt of them [six words crossed out] along the shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful. They grew among the mossy stones, about and about them; some rested their heads upon these stones as on a pillow for weariness, and the rest tossed and reeled and danced, and seemed as if they verily laughed with the wind that blew upon them over the lake. They looked so gay—ever-glancing, ever-changing. This wind blew directly over the lake to them. There was, here and there, a little knot, and a few stragglers a few yards higher up—but they were so few as not to disturb the simplicity and unity and life of that one busy highway.[6]

The poem that resulted—originally titled “Daffodils”—was composed later, sometime between March 1804 and April 1807 (WP 1:1005). Some readers have preferred the journal-entry to the poem. A scholar no less distinguished than Ernest de Selincourt, referring to the “unforgettable walk” of 15 April 1802, describes the Wordsworths’ encounter with the daffodils, “which William records in verse,” as “more lovely in Dorothy’s unstudied prose.” Even those who may not agree can see his point. But that prose was not quite “unstudied.” Dorothy’s manuscript (reproduced by de Selincourt on the overleaf that follows his remark), shows that she deleted six words after “a long belt of them” (“the end we did not see”), and jotted in as an afterthought, “This wind blew directly over the lake to them.” It is also worth noting, as Pamela Woof does in her edition of the Grasmere Journals, that Dorothy wrote a letter to Mary this same day, in fact, immediately on returning home from the walk along Ullswater. In this account, the wind is “furious” and “sometimes almost took our breath away”; but, as Woof notes, “it is not a creative force: no daffodils are mentioned, no partnership with the wind in dance.”[7]

In 1815, Wordsworth gave the poem its present title, dropping “Daffodils” for, I would surmise, two reasons: first, to place initial emphasis on the isolated speaker (“I wandered lonely…”), second, to defer the surprised delight of his, and our, first encounter with the flowers to the poem itself. He also inserted a new stanza (see WP 1:1006n), beginning “Continuous as the stars that shine…” A cluster of interrelated questions arise. Why did he feel the need to add these lines? How does this new second stanza affect our interpretation of the poem? What else is there in the poem that isn’t in Dorothy’s journal-entry? Alternately, what does Dorothy give us in prose, “unstudied” or otherwise, that her brother doesn’t?  And what do the differences between journal-entry and poem suggest in terms of experiential response and aesthetic shaping, even, perhaps, in terms of female and male responses to the natural world? Whatever changes he made in shaping his own poem, does knowing that Wordsworth adhered so closely to Dorothy’s journal-entry alter our attitude regarding Wordsworth’s creativity? In what follows, I return to the Daffodils poem in connection with three Wordsworths (William, Dorothy, and Mary); then in connection with Coleridge and Emerson, on the subject of “eyes” and the sublimation of the commonplace. I’ll conclude by placing “I Wandered Lonely as a Cloud” in a larger Wordsworthian and even Coleridgean-Kantian context.

ww

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Even though two years passed between Dorothy’s April 1802 journal-entry and Wordsworth’s initial draft of the poem, that remarkably perceptive and imaginative entry was obviously in the poet’s mind when he sat down to write, or, as was often his practice, began to chant lines while walking. Of course, we cannot know the precise extent to which he was indebted to his sister’s observations. Considerably, it would seem, though we cannot rule out the possibility that he may have had some influence on her wording in the journal-entry, given the crucial omissions in the contemporaneous letter to Mary, and, especially, given the closeness and reciprocity of the relationship between Dorothy and her brother.

Dorothy  Wordsworth journal

Reciprocity is, in fact, one key to the poem. “So much depends…,” William Carlos Williams opens “The Red Wheelbarrow,” a little poem as alternately loved and resisted by students as Wordsworth’s daffodils. Williams’s opening foreshadowed a mutual dependence: just as the poet depends on what he sees, the things of the world, as necessary raw material, so those “found” objects depend on the poet to perceive, frame, and so order them aesthetically—through unexpected line-breaks, division into three- and one-word couplets and juxtaposed colors and textures (“a red wheel/ barrow// glazed with rain/ water// beside the white/ chickens”)—that they are transformed into a work of art. In a similar reciprocity in “I Wandered Lonely as a Cloud,” the Wordsworthian speaker’s mood is affected by the daffodils, which, in turn, depend on the poet (and, in this case, Dorothy, in her journal-entry, though not in her letter to Mary) to record their gaiety as they “dance” in the breeze. At the same time, as that personification or pathetic fallacy indicates, Dorothy and William are also projecting, attributing human characteristics and emotions (primarily, joy) to the flowers. The speaker in the poem begins by “naturalizing” himself, comparing his loneliness to that of a floating cloud; then reverses the process by personifying the flowers; and, finally, internalizes their supposed joy when every subsequent recollection of them so “fills” with pleasure his momentarily empty heart that it “dances with the daffodils”—all, aside from the related “Fluttering” and “Tossing,” to an iambic-tetrameter beat.

When he started to write the poem, two years after Dorothy recorded her journal-entry, Wordsworth clearly depended on that entry, both to refresh his memory and for emotional coloring. In the poem, he deploys her observations selectively, emphasizing certain aspects, omitting others, most notably her reference to those daffodils that seemed to rest their heads on the stones they grew among. Dorothy, in fact, begins by noticing these presumably wind-beaten flowers resting their heads on the elegiac “mossy stones… as on a pillow for weariness.” Whether or not this reveals a specifically female sensibility, it is a sympathetic, even poignant observation unregistered in her brother’s poem. He focused instead, and exclusively, on the flowers animated by the breeze off the lake. According to Dorothy, they “tossed and reeled and danced,” a joyous movement replicated in the poem: “ten thousand saw I at a glance, / Tossing their heads in sprightly dance.” A later, more orthodox Wordsworth would dismiss Keats’s “Hymn to Pan” (which his young admirer had been pressed to read to him) as “a very pretty piece of paganism,” even though Keats’s main source was a favorite mythological passage in the fourth Book of Wordsworth’s own Excursion. Here, however, he adds to his sister’s head-“tossing” personification of the daffodils a light but detectably pagan note, their “sprightly dance” allying them with sprights or sprites: elfin supernatural beings. I’ll return to this point.[8]

Interestingly, the description closest to his sister’s did not appear in the poem until 1815, in the couplet concluding the stanza Wordsworth added that year. This addition may be his equivalent of the phrase she had deleted, “the end we did not see,” referring to the “long belt of them,” which, together with her reference to the Lesser Celandine, “that starry yellow flower,” may have led to Wordsworth’s belated insertion of this stanza, in which the multitude of daffodils that “stretched in never-ending line” are said to be “Continuous as the stars that shine/ And twinkle on the milky way.” This shifts the focus above the cloud that “floats on high,” and far above Dorothy’s “long belt”—now extended to stars, perhaps reminding Wordsworth of another “Belt,” Orion’s. Not part of our Milky Way, Orion, so familiar to stargazers, is the easiest constellation to find, and so the best way to orient ourselves to viewing the edgewise Milky Way’s “never-ending line,” or “busy highway,” of stars. In short, even Wordsworth’s most distant, sublime, celestial comparison, added more than a dozen years after she made her journal-entry, may still be partially indebted to Dorothy’s original description of the daffodils.

However we judge the relationship between his sister’s journal-entry and the poem, we know that Wordsworth, like Coleridge, valued Dorothy’s acutely sensitive perception of the details of the natural world. In the concluding lines of “The Sparrow’s Nest,” a short lyric grouped with “Daffodils” in the “Moods of My Own Mind” section of the 1807 Poems in Two Volumes, Wordsworth says of Dorothy (lightly disguised as “My sister Emmeline”):

She gave me eyes, she gave me ears;
And humble cares, and delicate fears;
A heart, the fountain of sweet tears;
And love, and thought, and joy.  (WP, 1:529-30)

Though every item in this litany of gifts to her poet-brother is crucial, his priority is, significantly, ocular: “She gave me eyes….” It seems all the more remarkable, therefore, that the lines Wordsworth himself described as the poem’s “two best”—“They flash upon that inward eye/ Which is the bliss of solitude”—were contributed not by the poet’s sister, but (he told Isabella Fenwick) by his wife, Mary. Dorothy may have given him “eyes,” but, in what borders on a co-operative family affair in the creation of this particular poem, it was another female member of the household who gave him his final and sublime image, “that inward eye.” “I Wandered Lonely as a Cloud” is nothing if not an “ocular” poem, one in which the speaker “saw,” and “saw,” and “glance[d],” and, more intensively, “gazed—and gazed”: a pattern culminating in that “inward eye” upon which those gazed-on and imprinted daffodils later “flash.” Wordsworth himself described the poem in 1815 as “rather an elementary feeling and simple impression [approaching to the nature of an ocular spectrum] upon the imaginative faculty, than an exertion of it….” (WP, 1:1006n)

But it must be added that it would be erroneous to over-emphasize the “ocular spectrum” at the expense of “the imaginative faculty.” Even in the note I have just cited, Wordsworth does not deny the exercise of the faculty of imagination, only of the sort of strenuous effort suggested by his italicization of the verb “exertion.” The point is confirmed by the fact that the note was written in the process of Wordsworth elevating the poem, previously located in “Moods of My Own Mind,” to a “higher” status among what he called, in the 1815 re-grouping, “Poems of the Imagination.” What we see with the physical or external eye still matters immensely, for without the initiating and necessary grounding in visual apprehension there would be no Romantic transcendence, defined by David Vallins as “at once a feeling of elevation or sublimity, and a process of contemplating, explaining, or evoking the unity of phenomena.”[9] In “I Wandered Lonely as a Cloud,” the “continuous,” integrated belt of daffodils is further unified and internalized through the power of the poet’s “inward eye.”

RalphWaldo_Emerson

Ralph Waldo Emerson

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The phrase I’ve just quoted from David Vallins occurs in his analysis of the reinterpretation of Romantic ideas by Ralph Waldo Emerson. The legacy of the “inward eye” includes the responses of Coleridge and of his (and Wordsworth’s) American disciple, Emerson, both of whom had things to say about the Wordsworthian “eye” engaging the commonplace, the humble things of the world.  Coleridge was the first and, in many ways, the most astute appreciator of the poetry of Wordsworth, a poet he ranked with (and second only to) Shakespeare and Milton. But he devoted a whole chapter (22) of Biographia Literaria to the “characteristic defects” (BL 1:119) of his friend’s work. As indicated earlier, in that chapter, he cited the lines in which the daffodils “flash upon that inward eye/ Which is the bliss of solitude” as an example of a thought or image “too great for the subject,” and thus approximating “what might be called mental bombast, as distinguished from verbal” (BL 1:136). Just as Wordsworth was not minimizing the role of imagination in his 1815 “ocular” note on “I Wandered Lonely as a Cloud,” so Coleridge was not criticizing these lines in themselves; only their misuse, since their very sublimity leads us to expect a more significant “joy of retrospection”—such as the passing before “our conscience” of “a whole well-spent life”—rather than what he considered on this occasion the relative triviality and bathos of a recollection of mere “daffodils” (137).

Coleridge, whose compelling Mariner mesmerizes us as well as the Wedding Guest with his “glittering eye,” was not a man to undervalue the eye. In a crucial and influential passage from Aids to Reflection (1825), Coleridge identified, as a “higher gift” than the life breathed into man and animal alike, man’s “Reflection, or Reason,” associating it with the moment in Genesis when “man became a living soul” (Gen 2:7), and providing an echoing Emerson with what he would later call (in the “Idealism” chapter of Nature), the “eye of Reason.”[10] God has given us a house gloriously furnished, writes Coleridge, “Nothing is wanted but the eye, which is the light of this house, the light which is the eye of this soul. This seeing light, this enlightening eye, is Reflection.”[11]

Coleridge here aligns his biblical quotation—“And man becomes a living soul”—with the moment in “Tintern Abbey” (46-49) when, laid asleep in body, we “become a living soul.” Thus empowered, we are—in Wordsworth’s visual image—able to “see into the life of things” with “an eye made quiet by the power/ Of harmony and the deep power of joy.” Thus, Coleridge might have agreed with Wordsworth, who seems not to have been merely patronizing his wife when he described the “inward eye” lines to Isabella Fenwick as the “two best lines in” the poem. For many subsequent readers, they have certainly seemed to be the poem’s most quintessentially “Wordsworthian” lines, even if they are more Mary’s than William’s.

Of course, just as it is possible that Wordsworth had some influence on Dorothy’s journal-entry on the daffodils, Mary may, like Coleridge, have been remembering that “ocular” passage in “Tintern Abbey.” Three decades later, and across the Atlantic, Emerson, another admirer of Wordsworth, remembered both ocular images, connecting them with the premature death of his closest brother, Charles—a victim of the same disease, tuberculosis, that had earlier claimed both his nineteen-year-old his wife and his younger brother, Edward, and that had, moreover, threatened his own eyesight. Devastated by this third family tragedy within five years, Emerson wondered of Charles, “Who can ever supply his place to me? None,” he answers, for Charles was to him what Dorothy was to Wordsworth: “The eye is closed that was to see Nature for me, & give me leave to see.”[12] Emerson’s partial compensation came in the form of a metaphorical transmutation of his dead brother’s “eye” attuned to the natural world. In the most celebrated moment in his book Nature, written in the year Charles died, Emerson famously or notoriously describes a moment in which, “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” (E&L,10; italics added). At once lonely and exhilarated, he experiences an uplifting, a rapturous and self-transcending unity with the divine in which “the currents of the Universal Being circulate through me; I am part or particle of God”: a version of Wordsworth’s less explicitly religious “sense sublime” of “A motion and a spirit, that impels/ All thinking things, all objects of all thought,/ And rolls through all things” (“Tintern Abbey,” 95, 100-102). Seven years later, in his great essay “The Poet,” Emerson looks back on that epiphanic moment, remarking how rare and difficult it is to attain “the all-piercing…and ocular air of heaven” (E&L, 451-52). Along with his brother’s “eye,” all-seeing but now closed in death, the American Transcendentalist seems to be recalling both the culminating ocular image in the Daffodils poem, that “inward eye/ Which is the bliss of solitude,” and that “Serene and blessed mood,” in which the affections gently lead us on until, our breath and even the motion of our human blood almost suspended, “we are,” to repeat the lines from “Tintern Abbey,”

SPACESPACESPlaid asleep
In body, and become a living soul;
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things. (30, 41-49; italics added)

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Dorothy Wordsworth's silhouette

Dorothy Wordsworth’s silhouette

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As with so many Wordsworthian roads, this emphasis on seeing leads back to Dorothy, who “gave” Wordsworth “eyes to see,” just as Charles’s “eye” was “to see Nature” for Emerson, and give him “leave to see.” Of course, Dorothy makes an appearance, albeit belated and unnamed, in “Tintern Abbey.” Though we do not find out until the final movement of the poem, “thou my dearest Friend…, My dear, dear Sister!” (119-120, 124), has been silently present all along, on the banks of the Wye, just as she was present when brother and sister saw the daffodils dancing in the wind beside Ullswater. But while Dorothy was there, and while her journal-entry inspired the Daffodils poem, her journal and her presence go unmentioned in “I Wandered Lonely as a Cloud.” It is not hard to guess why Dorothy was left out.

In what is perhaps the most repeated of all definitions of poetry, Wordsworth called it “the spontaneous overflow of powerful feelings…recollected in tranquility.” In the case of this poem, the supposedly spontaneous overflow took place over many years—from 1804, when he first drafted the poem, through its first printing in 1807, and its revised version in 1815, in which Wordsworth, though leaving the final stanza intact, improved the first stanza, replacing “dancing” with “golden,” and “along” with “beside” in lines 4-6. Some devotees of simplicity may prefer the original phrase in line 16, “laughing company,” to the permanent change made in 1815: “jocund company.” Though echoing the “large recompense” in “Lycidas,” the more-than-Miltonic Latinate and polysyllabic “abundant recompense” in “Tintern Abbey” seems ponderous. Here, the Latinate adjective seems less so; in addition, “laughing company” may have belatedly seemed to Wordsworth too close to Dorothy’s delightfully over-the-top surmise that the daffodils “seemed as if they verily laughed with the wind that blew upon them over the lake.” Most importantly, of course, in 1815, Wordsworth inserted an entirely new stanza. As earlier suggested, that stanza’s galaxy of “stars” may echo Dorothy’s “starry yellow flower” and  seemingly-endless “long belt” of daffodils;  and the new stanza concluded by directly echoing Dorothy’s description of the daffodils as they “tossed and reeled and danced.” Nevertheless, it would hardly do to mention that journal-entry, even in an appended prose note, since that would reveal that what was being “recollected” was less the poet’s “spontaneous” feelings than Dorothy’s, jotted down more than a dozen years earlier. An awkward affair best avoided.

Nor could there be room for Dorothy as a character in the poem. Though Keats would later famously and accurately refer to “the Wordsworthian or egotistical sublime,” the omission of Dorothy here has nothing to do with the “mean egotism” Emerson shed when he became a transparent eye-ball. Dorothy’s omission is thematic. “I Wandered Lonely as a Cloud” depends upon the speaker’s initial isolation, wandering “lonely as a cloud,” as preparation for the  moment when, “all at once I saw a crowd,/ A host, of golden daffodils,” and, caught up in their “glee,” becomes part of their “jocund company,” all leading to his very different final “solitude,” when emotion is recollected in a tranquility at once thoughtful and blissful, and his “heart with pleasure fills,/ And dances with the daffodils.” Indeed, the memory of the daffodils seems a talisman against loneliness. As long as he retains this, and other similarly vivid remembrances of Nature, Wordsworth will never be truly alone, or bereft of material for poetry. That initial loneliness and final solitude, associated with the “inward eye” upon which the remembered golden daffodils “flash,” is even more essential in this poem than it is in “Tintern Abbey,” where the repeated “I” finally yields to a petition to his beloved sister that she “not forget” that “after many wanderings, many years/ Of absence, these steep woods and lofty cliffs,/ And this green pastoral landscape, were to me/ More dear, both for themselves and for thy sake! (158-62; italics added). The poem rightly ends by focusing on Dorothy and past, present, and future, for though she has been silent, he has read his “former pleasures in the shooting lights/ Of thy wild eyes,” and caught “from thy wild eyes these gleams/ Of past existence” (121-22, 151-52; italics added).

An ocular presence in “Tintern Abbey,” as a poignant reminder of what were once his own unmediated “wild ecstasies,” Dorothy is an absent presence in the public encounter with daffodils, the poem inspired by her strikingly visual journal-entry. But we know from “The Sparrow’s Nest” that, along with her “eyes,” Dorothy also gave her brother “a heart” and “love, and thought, and joy.” All of these, thought included, are reflected in the final lines of the Daffodils poem. When he intensely “gazed—and gazed” at the daffodils, impressing them on his memory, the poet “little thought/ What wealth the show to me had brought,” but that “wealth” is revealed in stanza 4. There the poet, indoors and in either vacant reverie or in “pensive mood,” transforms an engraved but, at the moment, involuntary memory of the daffodils into a mature joy: a renovating spot of time now restored in the mind and incorporating, along with the initial joy, the “thought” absent in his original emotional and visceral response.

There are Then/Now parallels in the “Ode” and, earlier, in “Tintern Abbey,” which opens: “Five years have passed; five summers, with the length/ Of five long winters….” In the hovering on “length,” the seasonal references, and the triple repetition of that long-voweled “five,” we feel the “heavy and the weary weight” (39) of the world. Back then, when he first “came among these hills,” it was, says Wordsworth, “in the hour/ Of thoughtless youth.” “I cannot paint/ What then I was,” says the poet, who then proceeds to do just that, magnificently:

SPACESPAESPACThe sounding cataract
Haunted me like a passion; the tall rock,
The mountain, and the deep and gloomy wood,
Their colors and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, nor any interest
Unborrowed from the eye. That time is past…. (77-85; Italics added)

A similar shift from feeling to thought, from past to present, comes, in “I Wandered Lonely as a Cloud,” with the pivot—syntactical and thematic as well as temporal—from the third into the fourth and final stanza. For now, when the poet is indoors, alone and reclining in “vacant or in pensive mood,” wandering in his mind, the recalled flowers “flash” upon his “inward eye,” his last and most piercing “glance.” That brilliant, intermittent “flash” gathers to a greatness the poem’s light-imagery (shine, twinkle, sparkling). It also becomes a flash-flood, for the sudden recollection of the flowers so “fills” the poet’s heart with pleasure that it “dances with the daffodils.” The “spontaneous overflow of powerful feelings” has been “recollected in tranquility,” by thought supplied, but retaining, in the mind’s eye, the original excitement of what he “saw” with the outward eye. The three “glances” in the poem, and its version of that empowered “eye” that enables us to “see into the life of things,” seem fused in a Marianne Moore poem that also shifts back and forth from perceiver to the object perceived, concluding that works of art “must be ‘lit with piercing glances into the life of things’.”[13]

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7

Despite Wordsworth’s final fusion of thought and emotion, head and heart, in the Daffodils poem, some readers will concur with Coleridge that too much is being made of too little here; that, following the sublimity of the “inward eye,” the final lines “sink” into bathos. Influenced by such responses, more by the negative British reviews he read than by Coleridge’s momentary fault-finding, Emerson was among those who at first scorned Wordsworth’s penchant for making the trivial sublime. In a June 1826 letter to his Aunt Mary (whose insight into Wordsworth was at the time deeper than his own), Emerson asked, “Is it not much more conformable to that golden middle line…to let what Heaven made small and casual remain the objects of a notice small and casual, and husband our admiration for images of grandeur in matter or in mind?”[14] He had been reading British reviewers who (however inaccurately) caricatured Wordsworth as blubbering over the flower at the end of the Ode. But gradually, as he read more of Coleridge and (with the help of this mentor’s genuine insights) saw more deeply into Wordsworth, he came to admire what he originally dismissed. In Nature and elsewhere, in locating the miraculous in the commonplace, Emerson was emulating Wordsworth, the great poet of the “lowly” and neglected, of the humble, common, and seemingly trivial. Wordsworth’s “imagination” was chiefly engaged, as William Hazlitt pointed out in The Spirit of the Age, “in raising trifles to significance.” It was “his peculiar genius,” Walter Pater added a half-century later, “to open out the soul of apparently little or familiar things.”[15] Wordsworth is able to do so, as Coleridge understood just as well, and even more intimately, than Hazlitt and Pater, because he makes us “see into the life of things,” and to see what had been passed over by earlier poets, who thought such things literally beneath their notice.

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Emily Bronte

Emily Brontë

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No doubt Dorothy helped her brother see. We will never know just how much “wealth” Wordsworth owed to her meticulous, affectionate, and imaginative apprehension of the “little things” of the natural world, especially flowers. It is a detailed, discerning, and passionate attention that anticipates Emily Dickinson. And the Wordsworths’ Daffodils also anticipated another Emily, Dickinson’s “gigantic Emily Brontë.”[16] In one of the most beautiful passages the latter ever wrote, Catherine Earnshaw’s daughter (the second “Cathy” in Wuthering Heights) describes her “most perfect idea of heaven’s happiness.” She would be “rocking” at the heart of the natural world, “with a west wind blowing, and bright, white clouds flitting rapidly above,…grass undulating in waves to the breeze; and woods and sounding water; and the whole world awake and wild with joy….I wanted all to sparkle and dance, in a golden jubilee.”[17] Cathy’s idea of heaven is an earthly paradise, its primary “literary” source obvious. The entire passage (clouds, waves, breeze, woods, water, the whole world awake and joyous), and, especially, Cathy’s wanting “all to sparkle and dance in a golden jubilee,” reflects Wordsworth’s “golden” host of “Fluttering and dancing” flowers that out-danced and out-sparkled “the sparkling waves in glee,” their “never-ending” line “Continuous as the stars that shine/ And twinkle on the milky way.” Cathy’s description suggests that Emily Brontë was also familiar with William’s source: Dorothy’s loving and dynamic description of those “beautiful” daffodils that “tossed and reeled and danced, and seemed as if they verily laughed in the wind that blew upon them over the lake. They looked so gay—ever-glancing, ever-changing.”

Wordsworthian Emerson was also attuned to the sort of earthly paradise that appealed to both Emilys. He began his 1838 Divinity School Address by fusing the “gladsome pagans” in what was his as well as John Keats’s favorite Book of The Excursion, those pagans who “looked” and “were humbly thankful for the good/ Which the warm sun solicited, and earth/ Bestowed” (4:932-38), with the “pagan” of “The World is Too Much with Us.” Quoting Wordsworth’s sonnet, Emerson shocked his devout audience from the outset by declaring that he, too, would rather be “A pagan suckled in a creed outworn” than a Christian impoverished by being cut off from vital, fecund nature. And he began his Address with a deeply responsive evocation of nature’s vital, sparkling, floral beauty. In “this refulgent summer,” it has been “a luxury to draw the breath of life. The grass grows, the buds burst, the meadow is spotted with fire and gold” (E&L, 75). Those meadows were alive with flowers aglow with the light of Wordsworth’s “golden daffodils,” and sharing the pagan vitality of their “sprightly dance.”

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8

Having found the transplanted and transparent “eye” he was seeking in the aftermath of his brother’s death in Mary and William’s “inward eye” in the Daffodils poem, Emerson, reading  his favorite Wordsworth poem, the “Ode: Intimations of Immortality from Recollections of Early Childhood,” again found an emphasis on sight, on the mature eye, and, climactically, on a simple flower. More importantly, he was not alone in finding in this great poem lasting consolation for grief. Like so many, Emerson valued the Ode not only for its intimations of immortality, but for its appreciation of the natural world, both when it seemed, as in childhood, “appareled in celestial light,” and later, when Wordsworth loved it “even more,” though the initial radiance had been irretrievably lost. Innumerable readers in the nineteenth century and after have cherished the poem for the literally thoughtful consolation it offered to those who understand the pains as well as the joys of the human heart. In his “Memorial Verses,” written in the very month that Wordsworth died (April 1850), Matthew Arnold speculated that Time might bring us the wisdom of another Goethe, the force of another Byron; “But where will Europe’s latter hour/ Again find Wordsworth’s healing power?”[18]

That healing power takes linguistic form in the Ode. We can only reintegrate the sundered self, Hegel insists in the Logic, through knowledge, since, in his famous homeopathic metaphor, “the hand that inflicts the wound must be the hand that heals it.” As Helen Vendler demonstrated a third of a century ago in her challenge to Lionel Trilling’s celebrated essay, Wordsworth, in an intricate series of repetitions and alterations, had triumphed over what Trilling considered “the discrepant answers of the second part of the Ode.” The poem’s language reveals an autonomous pattern of self-healing—in Vendler’s phrase, a “homeopathic cure”—largely dependent on thought.[19] For example, in the Ode’s initial pastoral in stanza 3, while the lambs bounded to the shepherd-boy’s tabor and the birds sang a “joyous song,” to the poet “alone there came a thought of grief.” He claims, rather too quickly, to recover and, again “strong,” vows that “no more shall grief of mine the season wrong.” But when the pastoral is replicated in stanza 10, the true recovery fuses joy with cognition: “We in thought will join your throng.” And though the once-bright radiance “Be now forever taken from my sight,” we will “grieve not, rather find/ Strength in what remains behind,” both in the “primal sympathy/ Which having been must ever be,” and in “the soothing thoughts that spring/ Out of human suffering.”

In a now-familiar pattern, the Ode brings together the trinity of eyes, heart, and thought. For “though the radiance which was once so bright”—the celestial light attending the dawn of life, when we came from God, “trailing clouds of glory”—has “now” and forever been “taken from my sight,” the “clouds that gather round the setting sun” are said, in a reciprocal balance, to “take a sober coloring from an eye/ That hath kept watch o’er man’s mortality.” This is not the eye of that “Child,” over whom “thy Immortality/ Broods like the Day,” and who was addressed in stanza 8 as “thou Eye among the blind,” but of a mature adult acquainted with suffering and death. We have an elegiac “gathering” of the clouds around the “setting sun,” and a “sober” coloring imparted to them by a mature “eye.” But the Ode does not end in despair or defeat. Emerson concluded one of his most justly-famous notebook-entries, jotted down in the immediate aftermath of the death of his little boy, “I am Defeated all the time, yet to Victory am I born” (JMN 8:228). Concluding his Pindaric ode, a form used by the Greek poet to celebrate athletic triumphs, Wordsworth employs a similar race-image, pagan and Pauline (Corinthians 9:24), of loss and compensation, defeat and hard-earned victory:

Another race hath been, and other palms are won.
Thanks to the human heart by which we live,
Thanks to its tenderness, its joys, and fears,
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.  (Ode, 199-203)

We had heard earlier in the Ode of “The Pansy at my feet” (54) and Wordsworth’s most sublime masterpiece concludes with the “meanest [or, as he first wrote, “humblest”] flower that blows.” And with this, we are back—though with a more sober coloring and accompanied by a decidedly different metrical music—to flowers that, recollected in tranquility, “flash upon that inward eye,” filling, to cite the Ode, “the human heart” and evoking deep “thoughts.” Thus, the conclusion of the Ode brings us, by a route Coleridge called “rondure,” and Joyce “a commodious vicus of recirculation,” back to Dove Cottage and environs. Back to Mary, who supplied that “inward eye,” and to Dorothy, who “gave” Wordsworth “eyes to see,” and who shared with him notebook observations that, while they had nothing to do with the metrical and Then/Now orchestration of the Daffodils poem, provided him with closely-observed and already imaginatively-organized raw material. When we recall Dorothy’s loving and detailed journal-description of the daffodils, and the principal gifts that, by his own account, she “gave” her brother—“eyes,” “humble cares,” “delicate fears,” a “heart,” which was the “fountain of sweet tears,” and “love, and thought, and joy”—it begins to seem appropriate (though by Wordsworth’s order the Ode was to stand last in every collection of his verse) that in John Hayden’s splendid two-volume edition, ordered by date of composition, “The Sparrow’s Nest,” begun in the same month as the great Ode, and, like it, first published in 1807, appears immediately after the Ode’s concluding lines. Dorothy seems an absent presence here as well, though it is crucial to note that, while the final word of the Ode is “tears,” no “fountain of sweet tears” actually flows. Whatever may be invented by careless readers, whether malicious or maudlin, the lines are clear: thanks to the tenderness, joys, and fears of “the human heart by which we live,” the humblest flower that blossoms and blows in the wind can evoke “Thoughts that do often lie too deep for tears.”

If Dorothy did not literally give her brother “eyes to see,” she certainly enhanced his own “eye” for detail and (in this instance) even design, supplying him with a vivid example of his own central theme: the joy intrinsic in vital, personified, nature. Dorothy gives Wordsworth, and us, a “long belt” of beautiful, joyous daffodils that “tossed and reeled and danced” in the lakeside breeze, recollection of which later fills with pleasure the thinking heart of the poet, so that it “dances” with those dancing flowers. Dorothy did not write the poem, but without her notebook-entry, recording precisely what she “saw” on that “Thursday, 15 April 1802”—“I never saw daffodils so beautiful”; and how they appeared to her (“they looked so gay—ever glancing, ever-changing”)—it is doubtful that “I Wandered Lonely as a Cloud,” now considered one of Wordsworth’s signature poems, would ever have been written. Along with the “eyes” he said she “gave” him, Dorothy’s “heart” and her ultimate trinity of gifts—“love, and thought, and joy”—inform her notebook-observation of the daffodils that “tossed and reeled and danced,” seeming to enjoy “the wind that blew upon them over the lake.” Wordsworth was inspired by these details, and, perhaps most of all, by Dorothy’s final noticing of a “few stragglers a few yards higher up,” but “so few as not to disturb the simplicity and unity and life of that one busy highway.”

Here, keen-eyed “ocular” observation kindles into a genuine Vision of what Coleridge called, in a line added to “The Eolian Harp” almost a quarter-century after he originally wrote the poem, “The one Life within us and abroad.” And that “one Life” necessarily extends from earthly flowers into the very universe itself, which seems to me to explain the need Wordsworth evidently felt to add, in 1815, that stanza in which the “ten thousand” daffodils he “saw…at a glance,/ Tossing their heads in sprightly dance,” are said to have “stretched in never-ending line/ Along the margin of a bay,” as “Continuous as the stars that shine/ And twinkle on the milky way.” It has been noted recently, by Pamela Woof, that “the permanence of stars, as compared with flowers, emphasizes the permanence of memory for the poet.”[20] And that’s true, too. But the addition of this stanza emphasizes even more, I would suggest, the extension into the interstellar universe of the continuity, harmony, and unity with which Dorothy concluded her journal-entry. Echoing her previous awe at encountering “more and yet more” daffodils, until, “at last, under the boughs of the trees, we saw that there was a long belt of them along the shore, about the breadth of a country turnpike road,” she ends by stressing (to repeat the key phrase) “the simplicity and unity and life of that one busy highway.”

Orion

Orion’s belt

As with the transmutation of yellow flowers into an angelic “host of golden daffodils,” in the alembic of Wordsworth’s creative imagination Dorothy’s imagery of terrestrial unity (flowers, trees, shore, and country road) is transmuted (through the oxymoronic fusion Thomas Carlyle and, later, M. H. Abrams, called “natural supernaturalism”)[21] into celestial unity: the shining and twinkling of myriad stars on the Milky Way. If, as the final line of this stanza strongly suggests, Wordsworth had returned for inspiration to Dorothy’s journal-entry, he may have linguistically associated her “long belt” of daffodils (as suggested earlier) with Orion’s Belt, and, consciously or unconsciously, echoed her reference, immediately preceding the encounter with the daffodils themselves, to one of his own favorite flowers, the Lesser Celandine, as a “starry yellow flower.” These details may or may not have prompted his belated but sublime likening of her “more and yet more” daffodils in a unified “highway” to our Milky Way’s glowing roadway, that arching band of “continuous” stars splashed across the night sky. Whatever its genesis, the added stanza completes the poem’s (and Dorothy’s) theme of continuity and unity by fusing flowers and stars, microcosm and macrocosm.

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A Kantian-Coleridgean-Romantic Coda

kant

Immanuel Kant

These thoughts recall the famous opening of the “Conclusion” of The Critique of Practical Reason (1788) by the preeminent philosopher of the age, to whose thought— a pivotal influence on Romanticism—Wordsworth, like Emerson, was introduced by Coleridge:

Two things fill the mind with ever new and increasing admiration and awe, the oftener and the more steadily we reflect upon them: the starry heavens above and the moral law within. Neither of them do I have to search for and conjecture as though they were shrouded in obscurity or in a transcendent region beyond my own horizon; I see them before me and connect them immediately with the consciousness of my own existence.[22] (italics added)

What Immanuel Kant says of the starry heavens above and the moral law within— “I see them before me and connect them immediately with the consciousness of my own existence”—Dorothy and William Wordsworth said of the now-famous daffodils: “We saw a few daffodils….we saw that there was a long belt of them….I never saw daffodils so beautiful….they looked so gay…” (Dorothy).  “All at once I saw…Ten thousand saw I at a glance….I gazed—and gazed…They flash upon that inward eye…And then my heart with pleasure fills/ And dances with the daffodils” (William). Seeing the flowers before them, and connecting them with the consciousness of their own existence, the Wordsworths here, as so often, affirm a loving unity with nature, with the Coleridgean “one Life within us and abroad.” As Kant continued, glossing his “two things,” his sense “of the place I occupy in the external world of sense” is enlarged by an intuition of relationship with the whole: “I am not in a merely contingent but in a universal and necessary connection… reaching into the infinite” (CPR, 154). In “I Wandered Lonely as a Cloud,” the extended, universal, even eternal harmony, the sense of interrelationship from which the “lonely” poet was at first alienated, is expressed in the immediate delight he takes in the daffodils, in the presence of whose companionable “glee,” a “poet could not but be gay.” But it is, to fuse half-lines from Yeats’s “Lapis Lazuli” and “Tintern Abbey,” a gaiety transfiguring all this unintelligible world—a world that at first seemed as aimless as the poet’s wandering, or as fluctuating as the flowers, whose natural “fluttering” was, however, instantly transformed into a no-less-joyous but ordered “dancing.” That dancing, floral and later human and emotional, is also mental, a matter of consciousness. And since that dancing company is “Continuous as the stars that shine,” it all seems part of a cosmic dance, the daffodils and the “heart” that “dances with” them participating in a post-Pythagorean harmony of the spheres.

The transforming power that fuses the infinitesimal with the infinite is that of the orchestrating mind, no longer passively afloat and wandering, but once more active and order-making. That change takes place under the auspices of Kantian Reason. According to Kant’s Theory of the Sublime, through the power of Reason, “a faculty of the mind surpassing every standard of Sense,” one is able to form “an idea of the Infinite.” Often retaining (a cause of confusion) the term “Reason,” the Romantics (Coleridge, Wordsworth, Emerson) identified it with Imagination, with what Coleridge called in the “Dejection” Ode, “My shaping spirit of Imagination” (86). The “wealth” the ocular show “had brought” to Wordsworth in “I Wandered Lonely as a Cloud” —as “Tintern Abbey,” the Ode, The Prelude, and the “Prospectus” to The Recluse demonstrate at length—is directly related to what Kant called the inner law, both moral and epistemological since, in keeping with Kant’s Copernican Revolution, the external world is shaped by what is within us: the co-creating mind, which fits Things to Thought.

In the poem in which he lays out his entire project, the “Prospectus” to The Recluse,  Wordsworth designates “the Mind of man/ My haunt, and the main region of my song,” adding that “the discerning intellect of Man,/ When wedded to this goodly universe/ In love and holy passion, shall find these/ A simple produce of the common day.” As simple and common, we might say, as daffodils. And even the shifting agency in the Daffodils poem, alternating back and forth from poet to flowers, is later philosophized in Wordsworth’s overt adaptation of Kant’s epistemology. At the crux of the “Prospectus,” Wordsworth proclaims “How exquisitely the individual Mind/…to the external World/ Is fitted,” and how, even more rarely and significantly,

The external World is fitted to the Mind;
And the creation (by no lower name
Can it be called) which they by blended might
Accomplish:—this is our high argument. (“Prospectus,” 61-71; WP 2:38-39)

At the conclusion of The Prelude, to which he always referred as “the Poem to Coleridge,” Wordsworth tells his friend and “joint-laborer” that

SPACESPACESACESPACESPACwhat we have loved,
Others will love, and we will teach them how;
Instruct them 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.[23] (14: 446-54)

I may seem to have gone far afield in contextualizing—by setting, in what Helen Vendler called “larger frames”—so “simple” a lyric as “I Wandered Lonely as a Cloud.” There is always the danger of losing the individual poem in a widening gyre of associations, however valid each may seem to be. But had he read the poem in this enlarged context—Wordsworthian, Romantic, and Kantian—Coleridge would surely have been less likely to accuse his friend of “mental… bombast” in making lowly daffodils exemplify “what we have loved.” For these flowers are loved things which, however “common,” are so cherished that, years later, in renovating memory, they “flash” upon the poet’s “inward eye.” And, in keeping with the “out-in-out” dialectic M. H. Abrams has rightly attributed to the structure of the “greater Romantic lyric,” the inward inevitably moves outward. By means of the very poem in which they are immortalized, the daffodils expand their power to delight beyond the immediate pleasure they gave to Dorothy on that long-ago April morning in 1802 and beyond that retrospective “bliss” experienced in “solitude” by her brother, whose suddenly overwhelmed heart dances with them. For, as readers, we, too, join their throng, first as delighted, then as thoughtfully delighted, participants in the daffodils’ “jocund company.”[24]

That is as it should be, for, perceptive as his admirer Keats was in identifying him with the “egotistical sublime,” Wordsworth is a poet who chooses to “sing,” as he says in the “Prospectus” to The Recluse, “Of blessed consolations in distress;/ Of moral strength, and intellectual Power;/ Of joy in widest commonalty spread” (16-18; WP 2:37-38). Along with the “moral strength” and “intellectual Power,” which he associated with Kant, Coleridge considered that last line so quintessentially Wordsworthian that he summoned it up years later in a pivotal afterthought. Just as Wordsworth had added, in 1815, a crucial six lines to the Daffodils poem, first printed in 1807, so Coleridge added, in 1817, several thematically-crucial lines to “The Eolian Harp,” a poem first written in 1795, the year he met William and Dorothy:

 O! the one Life within us and abroad,
Which meets all motion and becomes its soul,
A light in sound, a sound-like power in light,
Rhythm in all thought, and joyance everywhere— (26-29)[25]

Aside from the penultimate line (“sound” being necessary to a poem focused on a wind-harp, its music a response to the ever-changing breeze), the passage might have been written of the Wordsworths’ Daffodils. The “glee” of that “jocund company” in “motion” registers “Rhythm in all thought,” and truly spreads “joyance everywhere,” a bliss culminating in William Wordsworth’s preeminent addition to the joyance Dorothy had recorded in her journal that day: his internalization of the past scene in excited reverie. His fusion, in the present, of joy and “thought” as a result of the renovating “flash upon that inward eye” dramatizes precisely what Coleridge had in mind, and heart, when he cried out, “O! the one Life within us and abroad.”

–Patrick J. Keane

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Patrick J Keane 2Patrick 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), andEmily Dickinson’s Approving God: Divine Design and the Problem of Suffering(2007).
Contact: patrickjkeane@old.numerocinqmagazine.com

Footnotes    (↵ returns to text)

  1. In context, Wordsworth’s famous definition is complex rather than paradoxical. His point is that  the spontaneity at the moment of composition is preceded by thought and influenced by poetic skill, and that—in a process central to my argument—the contemplative tranquility itself leads to a resurgence of emotion resembling the original emotion, but now actually “exist[ing] in the mind.” Here is Wordsworth’s complete sentence, quoted from the 1802 edition of the “Preface to Lyrical Ballads”: “I have said that [all good] poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility: the emotion is contemplated till by a species of reaction the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind.”
  2. The Letters of William and Dorothy Wordsworth. 2nd ed. ed. Ernest de Selincourt. Vol 2: The Middle Years, Part I, 1806-1811,  rev.  Mary Moorman (Oxford UP, 1969), 145-46 (21 May 1807). He adds that Lady Beaumont should “never forget” this point, which “I believe was observed to you by Coleridge.” In the “Essay Supplementary to the Preface” to the 1815 Poems, Wordsworth repeated the point, adding, “This remark has long since been made to me by [my] philosophical Friend. Wordsworth: The Poems, ed. John O. Hayden, 2 vols. (Yale UP, 1981), 2:944. (WP; though, for the major poems, I simply cite line-numbers).
  3. Coleridge, Biographia Literaria, ed. James Engell and Walter Jackson Bate [Vol. 7 of the Collected Coleridge, 1969-2001]), 2 vols. (Princeton UP, 1983), 1:136.  (BL)
  4. Helen Vendler, Poems, Poets, Poetry: An Introduction and Anthology (Bedford/St. Martin’s, third printing, 2010), Chapter 11, “Writing about Poems, 323-40.
  5. Predictably defending poetry and intrinsic criticism, Helen Vendler polarized a 1990 conference on “Revolutionary Romanticism” by fiercely rejecting what she characterized as Marjorie Levinson’s “vulgar” assault on “Tintern Abbey.” Pointing out that Wordsworth did not conceal (or “repress” or “exclude”) his “political investments and political disillusion” in his poetry as a whole, she called it “absurd that he should be obliged to mention them in every poem, or even in ‘Tintern Abbey’ alone.” Along with Levinson’s New Historicist demands, John Barrell’s criticism of the poem on gender grounds was also characterized as an assault in Vendler’s “‘Tintern Abbey’: Two Assaults,” in Wordsworth in Context, ed. Pauline Fletcher and John Murphy (Associated University Presses, 1992), 173-90. The debate is synopsized in my own Coleridge’s Submerged Politics (U of Missouri, 1994), 182-83, and, a decade later, in Eric K. W. Yu’s “Wordsworth Studies and the Ethics of Criticism: The ‘Tintern Abbey” Debate Revisited,” in Concentric: Literary and Cultural Studies 30 (July 2004): 129-54.
  6. Dorothy Wordsworth: The Grasmere Journals, ed. Pamela Woof (Oxford UP, 1991], 85. (DWGJ.)
  7. See Ernest De Selincourt, Dorothy Wordsworth: A Biography (Oxford UP, 1933), 137; DWGJ, 216n; and L, The Early Years, 1787-1805, ed. de Selincourt, rev. Chester L. Shaver (Oxford UP, 1967), 350.
  8. When, in 1817, Keats read the “Hymn” to the now-firmly Christian older poet, Wordsworth famously sniffed, “a very pretty piece of paganism.” This seems both condescending and  ironic, since his young admirer was echoing the rhapsodic aspects of the evocation of Greek mythology in a passage of The Excursion (4:858-64) his friend Benjamin Hayden (marking the lines in his copy) said “Poor Keats used always to prefer…to all others.”
  9. Vallins, Coleridge and the Psychology of Romanticism: Feeling and Thought (St. Martin’s, 2000), 5.
  10. Nature, in Emerson: Essays and Lectures, ed. Joel Porte (Library of America, 1983), 33. (E&L)
  11. Coleridge, Aids to Reflection, ed. John Beer [Vol. 9, Collected Coleridge] (Princeton UP, 1993), 15-16.
  12. Emerson, The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, ed. William H. Gilman, Ralph H. Orth, et al. 16 vols. (Harvard/ Belknap Press, 1960-82), 5: 152. (JMN)
  13. Marianne Moore, the penultimate line of “When I Buy Pictures.” In her note to the poem, Moore tells us that she borrowed the quoted phrase from A. R. Gordon’s 1919 study The Poets of the Old Testament (which may partially explain her insistence, in the poem’s final line, that an art-work “must acknowledge the spiritual source that made it”). But Gordon, whose final prepositional phrase, “glances into the life of things,” clearly echoes “Tintern Abbey,” may also have recalled the “glance,” and  more piercing “gazed—and gazed,” in the Daffodils poem.
  14. The Letters of Ralph Waldo Emerson, ed. Ralph L. Rusk (vols. 1-6 [1939]) and Eleanor M. Tilton (vols. 7-10, [1964]). 10 vols. (Columbia UP, 1939-1995), 7:148-49.
  15. The Complete Works of William Hazlitt, ed. P. P. Howe, 21 vols. (Dent, 1930-34), 11:88. Walter Pater, “Wordsworth” (1873), reprinted in 1889 in Pater’s Appreciations (Macmillan reprint, 1906), 48.
  16. Letters of Emily Dickinson, ed. Thomas  Johnson and Theodora Ward, 3 vols. (Harvard UP, 1958), 721.
  17. Emily Brontë, Wuthering Heights (Norton Critical Edition, 1972), 198-99.
  18. “Memorial Verses,” in The Poems of Matthew Arnold, ed. Kenneth Allott (Longmans, 1965).
  19. The Logic of Hegel, trans. W. Wallace (Oxford and Fairlawn, N.J.,1892), 56. Helen Vendler, “Lionel Trilling and the Immortality Ode,” in The Music of What Happens: Poems, Poets, Critics (Harvard UP, 1994), 93-114. “The Immortality Ode” first appeared in Trilling’s The Liberal Imagination (Viking, 1942), 129-53.
  20. Woof’s comment was made in a 2009 BBC program on “The Wordsworths and the Cult of Nature.”
  21. . The oxymoronic phrase, its terms at once  paradoxical and complementary, occurs as the title of chapter 8 of Book III of Carlyle’s  Sartor Resartus (first published in Boston, in 1836, with the help of Emerson). It later provided the title for M. H. Abrams’s Natural Supernaturalism: Tradition and Revolution in Romantic Literature (Norton, 1971), a landmark study of the secularization of spiritual motifs in German and British Romanticism.
  22. Immanuel Kant, Critique of Practical Reason. Introduction, Dennis Sweet (Barnes & Noble, 2004), 154.  But I have not adhered slavishly to this slightly dated translation, by Thomas Kingsmill Abbott.
  23. 1850 version, cited from The Prelude, 1799, 1805, 1850, ed. Jonathan Wordsworth, M. H. Abrams, and Stephen Gill (Norton Critical Edition, 1979), 483.
  24. I’m thinking specifically of the shift from the outward to the inward eye and then out again to the eyes of the poem’s readers; but Abrams’s essay on “Structure and Style in the Greater Romantic Lyric” is partially relevant to “I Wandered Lonely as a Cloud” in a larger sense. The Greater Romantic lyrics he has in mind usually begin, writes Abrams, with “a description of the landscape,” which “evokes a…process of memory…closely interwoven with the outer scene,” issuing in a “meditation,” in the course of which “the lyric speaker achieves an insight, faces up to a tragic loss, comes to a moral decision, or resolves an emotional problem. Often the poem rounds upon itself to end where it began, at the outer scene, but with an altered mood and deepened understanding which is the result of the intervening meditation” (77). Our less ambitious poem engages fewer issues. Nevertheless, though it moves from an outdoor to an indoor scene, it certainly “rounds upon itself” since, in the final stanza, the “outer scene” returns and is internalized. There is a deepened understanding as a result of a revived memory, taking the form, of a “wealth” previously not “thought” of.  In short, much, though by no means all, of what Abrams says here, including his later subhead-emphases on “The Coalescence of Subject and Object” (94) and  “The Romantic Meditation” (104), applies, mutatis mutandis, to “I Wandered Lonely as a Cloud.” Abrams’s essay, first published in 1965, is here cited from its reprinting in Abrams’s collection, The Correspondent Breeze: Essays in English Romanticism, Foreword by Jack Stillinger (Norton, 1984), 75-108.
  25. “The Eolian Harp,” in The Complete Poetical Works of Samuel Taylor Coleridge, ed. Ernest Hartley Coleridge, 2 vols. (Oxford UP, 1912), 1:100-102 (for the first version of the poem, see 2:1021-23). Coleridge added seven lines, of which I cite the first four.
Oct 052013
 

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What an older writer can do that a younger one can’t is erect, out of the merest wisp of chance memory and association, a brief, complex image of youth, a life, a satanic struggle (“I’ve tasted hell,” he writes sardonically) and ill consequence (you ache for that boy who runs from the spider lady to a milkshake—oh innocence—that later turns to alcohol). Note the apparently casual opening that rhymes (without telling the reader) spider/arachnid with Signora Ragnetti, the spider summoning the writer into the dark labyrinth of the past; the repugnant singing lesson; the precise oscillation in the text between spider and Signora (Ragnetti means “little spiders,” as someone who knows informs me); and the shape: October, fall, tenor—at the beginning and the end—and, in the last line, “spider, Ragnetti.” Sydney Lea makes this look effortless; damn, it’s not.

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October’s warm for now, the truer chill yet to come. As it happens, an angler spider, trailing its thread like a fishing line, has just caught me this morning, in exact coincidence with my random recall of Signora Ragnetti, long since dead. Even gone, though, in memory the woman’s still an ogre, the one who terrified me every Thursday afternoon one winter. During singing lessons, fist on high, she led me, barely yet  turned tenor, through cheerless versions of Caro mio ben’ and others.

I arrived, cradling my folio of airs. I’d been sopped and darkened by smutted snow in that stranger’s land, Downtown. The bells of San Cristofero’s tolled a torpid portent of the slow agony ahead. I’ve tasted hell.

I hear it already: “How is this? You do not do so simple things I ask. O Dio, che stupido….

The spider thinks he’s found arachnid heaven. That is if a spider may be said to think, and even if so, in terms aside from food and drink. If he can, not knowing how I’ve shrunk, he has reason to find me quite a catch.  He’s likely drunk with joy, not knowing either how in those old sessions, when (cretino!) failure seemed its own long season, I was hollowed out to a specter. If he tweaked his thread, I’d rise. I’m only air in this nightmare, a whiff of ether.

La signora is five feet one at most, and perhaps eighty pounds. How can she be so huge, then? She wrests the door inward and lets me in with clickings of her tongue.

“So different from my son,” she growls, before I’ve so much as removed my soaking jacket. She turns to study the photo, which shows a middle-aged man with a face as set and stern as hers. She crosses herself and scowls, then sits malignly down. Soon, too soon, her left hand jabs at scales on her piano, the right one in that gnarled fist, as if it held a dagger.

Piu forte! she insists. I wince, as though from actual blows, while we do-re-mi.

“Disaster!” she spits as I grapple up and down those ladders: “Do you visit here for making such a noise, asino?” 

Another note, another Latin imprecation. I grow colder and colder and smaller. My mother, I know, won’t imagine my complaints, on my return home, as other than self-pitying puling.

Released at last, I cross the swarming street to buy a milkshake, icy, laced with malt, scant consolation for all I’ve felt go out of me. My hope is delusion; the treat seems to freeze the fear I’d meant to melt, the poison residue of terror, hate. In coming years, for too long I’ll turn to alcohol, in the same vain longing for numbness.

Once I felt the harsh lash of Ragnetti. Now the spider vainly imagines he’ll take me into his maw.

It’s not yet fall. The years have changed that voice she called a mediocre tenor. The liquor has been banished, and one might think I’d come to accept myself for what I am, no more. I want further to say, but cannot quite: Ragnetti, spider, I amount to something, have gravity.

—Sydney Lea

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Sydney Lea is Poet Laureate of Vermont. His tenth collection of poems, I Was Thinking of Beauty, is now available from Four Way Books, his collaborative book with Fleda Brown, Growing Old in Poetry: Two Poets, Two Lives, has now been issued in e-book format by Autumn House Press, and Skyhorse Publishing has just published A North Country Life: Tales of Woodsmen, Waters and Wildlife. Other recent publications include Six Sundays Toward a Seventh: Selected Spiritual Poems, from publishers Wipf and Stock, and A Hundred Himalayas (University of Michigan Press), a sampling from his critical work over four decades.

He founded New England Review in 1977 and edited it till 1989. Of his nine previous poetry collections, Pursuit of a Wound (University of Illinois Press, 2000) was one of three finalists for the Pulitzer Prize for poetry. The preceding volume, To the Bone: New and Selected Poems, was co-winner of the 1998 Poets’ Prize. In 1989, Lea also published the novel A Place in Mind with Scribner, and the book is still available in paper from Story Line Press. His 1994 collection of naturalist essays, Hunting the Whole Way Home, was re-issued in paper by the Lyons Press in 2003. Lea has received fellowships from the Rockefeller, Fulbright and Guggenheim Foundations, and has taught at Dartmouth, Yale, Wesleyan, Vermont and Middlebury Colleges, as well as at Franklin College in Switzerland and the National Hungarian University in Budapest. His stories, poems, essays and criticism have appeared in The New Yorker, The Atlantic, The New Republic, The New York Times, Sports Illustrated and many other periodicals, as well as in more than forty anthologies. He lives in Newbury, Vermont, where he is active in statewide literacy and conservation efforts.

Sep 102013
 

Patrick J Keane 2

Patrick J. Keane’s “Wordsworthian Sources” bears a title that slightly masks its poignant and human subject matter, that is, Emerson’s struggle to come to grips with the death of his beloved brother Charles from tuberculosis. It’s a beautiful essay, densely argued, replete with quotation, and full of link-lines to other essays Pat has published in Numéro Cinq, which taken together begin to look like a book on the Emerson-Wordsworth-Nietzsche-Twain constellation. What Pat does here is focus on the nexus of emotion (mourning), reading and tradition that helped form Emerson’s reactions to his brother’s death, the mental processes by which he dealt with his emotional surplus, as it were. Emerson finds, yes, hope in Wordsworth’s poems, but is not blinded by hope, is rather fascinated by the will to believe (that is, he foreshadows the modern move from ontology to phenomenology). He tries to honour his brother by setting his papers in order for publication, only to find them surprisingly inadequate. He even reaches for solace into a chilly transcendentalism, for which he is sometimes castigated. As always Pat Keane, immerses his readers in a world of the mind, a world of books (are they different?), the heady and inspiring world of great writers talking together.

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 —

We tough modernists are frequently put off  by Emersonian “optimism,” whether depicted as Emerson’s refusal to face hard facts, his lack of a “tragic vision,” or, more personally, as a relentless serenity and untroubled cheerfulness that can, at times, seem less admirable than repellent: an Idealist or Stoical detached tranquility bordering on coldness. There is, of course, some truth in this latter characterization, and Emerson will never be everyone’s cup of tea, especially in an age that prides itself on confronting dark realities and peering into the abyss. I come neither to praise Emerson’s equanimity nor to condemn his inveterate optimism and his more-than-occasional emotional chilliness. Instead, I’d rather try to understand where he’s coming from by exploring just a few sources of Emersonian “hope,” his ability, or determination, to find “light” in even the most profound darkness.

Aware of the traditions in which, and precursors in whom, he was spiritually, intellectually, and emotionally steeped, one might expect a Transcendentalist Emerson besieged by painful circumstances to turn primarily to his religion; or to the perennial philosophy of Plato and Plotinus; to the Stoicism of Seneca and Marcus Aurelius; to the Milton who offers, directly or through angelic personae, recompense for even the most grievous loss. Above all, perhaps, one might expect the more “realist” side of Emerson to fall back on his cherished Montaigne, that world-renowned counselor and practitioner of tranquility of mind and a constructive calmness in affliction—especially since Montaigne was no more a stranger to what Emerson called the “House of Pain” than was Emerson himself, who suffered, in a single terrible yet productive decade (1831-42), a harrowing sequence of familial tragedies. He does find comfort in these traditions and writers, but I want on this occasion, and in this context, to emphasize the crucial importance to Emerson of his reading of Wordsworth, in particular as a source of consolation in the immediate aftermath of the death of his dearest brother, Charles, in 1836.

Emerson6The caricature of Emerson as an unfeeling man whose optimistic theory so blinded him to a vision of evil as to render him incapable of experiencing pain and suffering may be corrected by examining, through a Wordworthian lens, Emerson’s response to, and frequent transcendence of, harsh and apparently unregenerate reality: what Keats, in one of his remarkable letters, called “this world of circumstance,” a Vale of Tears we struggle to convert into a secular “vale of Soul-Making.” Like so many others in the nineteenth century, Keats was immersed in, and responding to, the same Wordsworth poems that shaped Emerson: “Tintern Abbey,” the “Prospectus” to The Recluse, the meditations of the Wanderer in The Excursion, and, above all, that Emersonian favorite, the great “Ode: Intimations of Immortality from Recollections of Early Childhood”—the ninth stanza of which was Emerson’s principle source of consolation in distress.

Had we world enough and time, I would also discuss some of the many short Wordsworth consolatory lyrics Emerson loved, as well as the two substantial Wordsworth poems, “Laodamia” and “Dion,” that he consistently ranked second only to the Ode. These two poems, both based on classical sources, epitomize Emerson’s attraction to Wordsworthian austerity and to elegy: a genre that traditionally balances suffering with some form of compensation. Emerson believed, as Wordsworth put it in the remarkably balanced final line of “Elegiac Stanzas,” that it is “Not without hope we suffer and we mourn.” That kind of hope, allied with the Ode’s “truths that wake/ To perish never,” provided Emerson (who repeatedly alludes to these very passages) with light in the darkness as he struggled, personally and philosophically, to reconcile his philosophy with a harsh reality most painfully embodied in the early deaths of those he most loved.

 

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In 1836, five years after the death of his young wife Ellen and two years after the death of his younger brother Edward, Emerson’s closest brother, Charles, succumbed to tuberculosis. The two had just been reading Sophocles’ Antigone and Electra, with Emerson—as Charles, the superior Greek scholar, told his fiancée, Elizabeth Hoar—“quite enamoured of the severe beauty of the Greek tragic muse.” To be thus enamored is to go some distance, at least aesthetically, toward what Emerson would call, a decade and a half later in his essay “Fate,” submission to the essence of Greek Tragedy: the will of Zeus in the form of “Beautiful Necessity”—or what Emerson’s disciple Nietzsche would later celebrate as amor fati. A month after their reading of Antigone, Charles, as though to put the beauty of tragedy to the test, was dead. Emerson wondered, as he turned from the grave with an enigmatic laugh, what there was left “worth living for.” Two weeks later, though declaring that “night rests on all sides upon the facts of our being,” he added we “must own, our upper nature lies always in Day.” (L 2:19, 20, 25)

Lying “in Day” and associated with the “light of all our day” in Wordsworth’s Ode, that “upper nature” reflected a higher law. Underlying all pain and tragic suffering, Emerson detected a “spiritual law” allied with Antigone’s pronouncement of an immutable higher law. In “Experience,” the great essay so closely related to perhaps the most devastating of all his familial tragedies, the death in 1842 of his little boy, Waldo, Emerson repairs to the locus classicus of that law: “Since neither now nor yesterday began/These thoughts, which have been ever, nor yet can/ A man be found who their first entrance knew” (E&L 473). Emerson is translating, rather awkwardly, from one of the most famous speeches in Greek tragedy. Responding to Creon’s charge that, in burying her brother, Polyneices, she had violated royal “laws,” Antigone archly observes that she did not think that Creon’s edicts, those of a mere mortal even if a king,

……….could over-run the gods’ unwritten and unfailing laws;
Not now, nor yesterday’s, they always live,
And no one knows their origin in time. (Antigone, lines 455-57).

This is the earliest, often-cited statement of the eternal, unwritten justice (themis): the inner, supreme, spiritual “law,” its origins unknown in time and for that very reason imperishable. The truths of this unwritten and immutable divine law are opposed to human, written legislation (nomoi), civil proclamations here today and gone tomorrow.  These are the ever-living “truths that wake,/ To perish never,” to which Emerson repeatedly refers, quoting, as he almost obsessively does, from the numinous ninth stanza of Wordsworth’s Intimations Ode. As Emerson had said earlier in this paragraph of “Experience,” underneath the vicissitudes of chance and life’s “inharmonious and trivial particulars,” there is a “musical perfection, the Ideal journeying with us, the heaven without rent or seam,” in the form of a “spiritual law,” revealed to us by the very “mode of our illumination” (E&L 472).

That “illumination” is allied with the assertion that “our upper nature lies always in Day,” a phrase that deliberately echoes the repetition of “day” in Wordsworth’s Ode: not the fading (in the poem’s opening stanza) of celestial radiance “into the light of common day,” but that Plotinian “fountain light of all our day”—the line of the Ode to which Emerson most frequently alludes. The “Child” of the middle stanzas of the Ode had been addressed as “Thou, over whom thy Immortality/ Broods like the Day.” Wordsworth was at once sublime, certain, and vague about the source of that fontal light; he gives thanks for “those first affections,/ Those shadowy recollections,/ Which, be they what they may,/ Are yet the fountain light of all our day,/ Are yet a master light of all our seeing.” It is in this luminous yet shadowy region, a region of mastery rather than servitude, that, Emerson insists, “our upper nature lies”: Experience’s version of Wordsworthian blissful Innocence, when “Heaven lies about us in our infancy.”

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Wordsworth

The central issue, as confirmed by the title of Wordsworth’s Ode, has to do with “intimations of immortality” drawn from recollections of our earliest childhood when, in Platonic and Neoplatonic theory, we were closest to Eternity. By 1836, Emerson was having increasing difficulty believing in either a personal divinity in the sense of a god external to the self, or in a conventional, religiously orthodox sense of immortality. He had only that Wordsworthian and Plotinian presence brooding over him “like the Day.” What Wordsworth and Emerson, like Plotinus, describe as intuitive gleams do not pretend to be “rational” demonstrations, nor are they conventionally supernatural. What then, Emerson asks in his essay “Immortality,” is the source of the mind’s intimations of eternity or infinity? “Whence came it? Who put it in the mind? It was not I, it was not you; it is elemental….” It is also, for a reader of the Romantics, elementally Wordsworthian, mysterious and yet certain; a “gleam” and “a master-light”—which Emerson habitually, and significantly, altered to “the master light.” This “wonderful” idea, he says, “belongs to thought and virtue, and whenever we have either, we see the beams of this light” (W 8:333).

This “light of all our day,” along with inextinguishable “hope,” provide the crucial terms, for in assuming what is both mysterious and unproveable, Emerson is falling back on Wordsworth as his apostle of “hope” and his authority on the intuitive, rather than the cognitively demonstrable. As he said in all versions of “Immortality,” beginning with the 1861 lecture on which the essay was based, he would “abstain from writing or printing on the immortality of the soul,” aware that he would disappoint his readers’ “hungry eyes” or fail to satisfy the “desire” of his “listeners.” And, he adds,

I shall be as much wronged by their hasty conclusions, as they feel themselves wronged by my omissions. I mean that I am a better believer, and all serious souls are better believers in the immortality, than we can give grounds for. The real evidence is too subtle, or is higher than we can write down in propositions, and therefore Wordsworth’s “Ode” is the best modern essay on the subject. (W 8:345-46)

“We cannot,” Emerson continues in the very next sentence, “prove our faith by syllogisms.” This is yet another variation on the familiar point that the “shadowy recollections” and “visionary gleams” of numinous intuition cannot be categorized or proven—“be they what they may,” as Wordsworth says in the Ode, acknowledging his own ignorance of ultimate mystery. Nevertheless, those intuitive and compensatory gleams of light remain indisputable—proven, as it were, on the pulses. Wordsworth, like Emerson after him, anticipates the related but more recent “Testimony” (1999) of W. S. Merwin:

I am not certain as to how
The pain of learning what is lost
Is transformed into light at last.

Yet, as usual in Emerson, who refuses to dogmatize obscurity into a facile clarity, what matters is not doctrine but the mysterious, yet irresistible affirmative instinct. As he says, again in his crucial essay “Experience,” it “is not what we believe concerning the immortality of the soul and the like, but the universal impulse to believe, that is the material circumstance and is the principal fact in the history of the globe” (E&L 486; italics added). It is a matter, as Tennyson would put it in In Memoriam, of “Believing where we cannot prove”; or, as it was famously phrased by William James (who found that he could not obey his own imperative): “the will to believe.” Emerson was capable of correcting even what he took to be Wordsworth’s position when it came to the indispensable Intimations Ode. Mistakenly expanding Wordsworth’s comment about his employment of Platonic or Neoplatonic myth (making the “best use” he could of it “as a poet”) into authorial judgment on the revelations of the poem as a whole, Emerson, trusting the tale and not the teller, rose to the Ode’s defense: “Wordsworth wrote his ode on reminiscence, & when questioned afterwards, said, it was only poetry. He did not know it was the only truth” (TN, 2:262).

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Though, even in the days immediately following Charles’s death, Emerson would echo the Ode in asserting that “our upper nature lies always in Day,” his own battered faith during this “gloomy epoch” offered little religious consolation in bereavement. We see the gloom in “Dirge,” a heartbroken 1838 elegy for his two brothers, his “strong, star-bright companions,” in which he envisioned, not a Christian heaven, but a classical or pagan sunset plain “full of ghosts” now “they are gone.” A more hopeful variation occurs in lines originally included in his long poem, “May-Day,” but subsequently extracted to form the conclusion of Emerson’s still-later poem, “The Harp.” “At eventide,/ …listening” for “the syllable that Nature spoke” (but which, aside from the “wind-harp,” has been “adequately utter[ed]” by none, not even “Wordsworth, Pan’s recording voice”), the old poet suddenly finds himself in the visionary presence of the lost companions of his youth:

O joy, for what recoveries rare!
Renewed, I breathe Elysian air,
See youth’s glad mates in earliest bloom…..

The “Aeolian” harp and “Elysian” air are classical, but Emerson is once again (if rather feebly) echoing the Intimations Ode. The recovery-stanza (his favorite) opens with the same exclamation—“O joy! That in our embers/ Is something that doth live,/That Nature yet remembers/ What was so fugitive!”—and ends with a vision of immortal “children” sporting on the shore of eternity. In the lines that immediately follow in his own poem, Emerson concludes by expressing the hope of an eternal Spring beyond the intruding grave: “Break not my dream, intrusive tomb!/ Or teach thou, Spring! The grand recoil/ Of life resurgent from the soil/ Wherein was dropped the mortal spoil.”

After three weeks of mourning the death of Charles, Emerson concluded that “We are no longer permitted to think that the presence or absence of friends is material to our highest states of mind,” for personal relationships pale in the light of the “absolute life” of our relationship to the divine. This austerely Neoplatonic perspective will emerge in the seminal if paradoxically-titled Nature, in that highest state when Emerson, “uplifted into infinite space,” becomes “a transparent eye-ball” and the “name of the nearest friend sounds then foreign and accidental: to be brothers, to be acquaintances…is then a trifle and a disturbance” (E&L 10). This epiphany is Emerson’s partial compensation for the loss of Charles. “Who can ever supply his place to me? None….The eye is closed that was to see Nature for me, & give me leave to see” (JMN 5:152). Now Charles’s metaphorical transmutation into an all-seeing but impersonal eye-ball leaves Emerson at once exhilarated and isolated, friendship reduced to the foreign and accidental, even brotherhood a trifle. Similarly, “Experience,” written in the aftermath of little Waldo’s death, will proclaim the “inequality between every subject and every object,” and, consequently, the superficial nature of grief and love: “The great and crescive self, rooted in absolute nature, supplants all relative existence, and ruins the mortal kingdom of friendship and love.” There is a “gulf between every me and thee, as between the original and the picture.” The soul “is not twice-born, but the only begotten,” and admits “no co-life,” since “We believe in ourselves as we do not believe in others” (E&L 487-88).

Emerson’s notorious announcement, earlier in “Experience,” that the loss of his precious boy “falls off from me, and leaves no scar. It was caducous” (E&L 473; italics added), is related to those idealist, sense-transcending “High instincts” at the center of the pivotal ninth stanza of the Intimations Ode. The offensive word, so deliberately and coldly technical, is of course “caducous,” which more often describes a floral or organic rather than a human “falling off” of connected but separable parts (leaves, or a placenta). Emerson’s point can be clarified, if not made much more palatable, by being compared to “those obstinate questionings” (again, in the ninth stanza of the Ode) “Of sense and outward things,/ Fallings from us, vanishings….” But if Wordsworth is abstract and austere in the ninth stanza, the crux of the Ode, Emerson seems, in “Experience,” positively cold, far removed from the spiritual and humane hope, expressed at the time of Ellen’s death, that he might retrieve that lost “beautiful Vision” by entering with her into what (echoing Milton’s “Lycidas”) he calls “the great Vision of the Whole” (JMN 3:230-31). In his new thinking, reflecting both a genuine Idealist vision of transcendence (as in the epiphany of the transparent eye-ball) and a need to numb himself to the pain of repeated loss, the human beings we love, the living and the dead, are said to have nothing to do with the “absolute life” of one’s relationship with God; for in “that communion our dearest friends are strangers. There is no personeity in it” (L 2:21; JMN 5:150-61, 170).

We may be reminded of what Keats termed “the Wordsworthian or egotistical sublime.” For this is Transcendentalist Emerson at his most aloof and least humane, a momentary scandal to even his fiercest worshiper, Harold Bloom. But Emerson was, fortunately, not utterly caught up in his own theory of a friend-estranging and personality-excluding communion with God. Thus, collaborating with Charles’s fiancée, Elizabeth Hoar, he first sought for his brother a literary immortality by trying to put the dead man’s scholarly writings—that “drawer of papers” that formed Elizabeth’s heritage—into shape for publication. He was no more successful than Montaigne had been in his similarly doomed attempt to adequately represent his friend La Boétie by posthumously publishing his papers. In fact, Emerson was shocked to discover from Charles’s journals just how “melancholy, penitential, and self-accusing” his destructively-ambitious and self-doubting brother had been. He found “little in a finished state and far too much of his dark, hopeless, self-pitying streak,” the “creepings of an eclipsing temperament over his abiding light of character” (JMN 5:152). Emerson’s own affinities, in precise contrast, were with a finally uneclipsed and abiding light, hope, and self-affirmation. Writing on March 19 after having read Charles’s “noble but sad” letters to Elizabeth, letters containing “so little hope” that they “harrowed me,” Emerson declared no book “so good to read as that which sets the reader into a working mood, makes him feel his strength….Such are Plutarch, & Montaigne, & Wordsworth” (JMN 5:288-89). We can trace his recovery from the blow of Charles’s death in a crucial journal entry—one centered less on Plutarch or Montaigne’s “On Friendship,” than on Wordsworth, this time quite explicitly.

 

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Emerson’s study

Writing in mid-May 1836, after ten days of “helpless mourning,” Emerson begins, tentatively, to recover. “I find myself slowly….I remember states of mind that perhaps I had long lost before this grief, the native mountains whose tops reappear after we have traversed many a mile of weary region from our home. Them shall I ever revisit?” These “states of mind” are reflected in the conversation of friends who have “ministered to my highest needs,” even that “intrepid doubter,” Achille Murat, Napoleon’s nephew, with whom Emerson had “talked incessantly” nine years earlier, during his return from his recuperative trip to Florida (JMN 3:77). The “elevating” discussions of such men, and these men themselves, “are to me,” says Emerson, “what the Wanderer” [in Wordsworth’s Excursion] is to the poet. And Wordsworth’s total value is of this kind….Theirs is the true light of all our day. They are the argument for the spiritual world for their spirit is it” (JMN 5:160-61).

Emerson was particularly impressed by the Wanderer, the composite character in whom Wordsworth concentrated, not all, but most of his own thoughts and feelings, and who reminded Emerson of his idealist friend Bronson Alcott. In Book 4 (“Despondency Corrected”) of The Excursion, Wordsworth has the Wanderer draw comfort from men such as himself: men whose hearts and minds, shaped in nature’s presence and able to convert pain and misery into a higher delight, attain a humanity-glorifying form of tragic joy. Such men are “their own upholders, to themselves/ Encouragement, and energy and will.” But there are others, “still higher,” who are “framed for contemplation” rather than “words,” words being mere “under-agents in their souls.” Theirs “is the language of heaven, the power,/ The thought, the image, and the silent joy.” And “theirs,” as Emerson says of such ministering men and once again echoing the Ode, “is the true light of all our day.” Familiar with The Excursion as early as 1821, when he inscribed in his journal a synopsis of its nine books (JMN 1:271-72), Emerson would have endorsed the following accurate synopsis, by   critic Charles J. Smith in a 1954 PMLA essay on Wordsworth’s “dualistic imagery”:

Throughout this long poem, filled with the aspirations, struggles, and heartaches of humanity, Wordsworth tells us that even in the very midst of Mutability, loss and grief, there are, to the practiced eye, signs and symbols of eternal rest and peace. The Wanderer has the wisdom to perceive and the feelings to appreciate these symbols and has faith in what lies behind them.

Parts of the opening Book of The Excursion have always been admired, especially the account of the Wanderer’s boyhood (a Wordsworthian seed-time in Nature’s presence, much cherished by Emerson) and his tale of Margaret and the Ruined Cottage. But it was Book 4, “Despondency Corrected,” that many readers (including Lamb, Keats and, Ruskin; Emerson, his Aunt Mary, and his poet-friend, Jones Very) considered not only the best thing in The Excursion, but among the supreme achievements of Wordsworth’s career. Indeed, it was his previous experience in reading Book 4, and absorbing the philosophy and consolation offered by the Wanderer to the despondent Solitary, that made Emerson confident, when he picked up the latest volume of Wordsworth’s poetry seeking consolation in the painful aftermath of Charles’s death, that he would “find thoughts in harmony with the great frame of Nature, the placid aspect of the Universe” (JMN 5:99).

Anticipating Emersonian “optimism” and his precise dialectic of “conversion” in the essay “Compensation,” the Wanderer, a Romantic Stoic, describes in Boethian/Miltonic terms the operations of benign Providence, ever converting accidents “to good” (4:16-17). In his great speech at the opening of the final Book of The Excursion, the Wanderer tells his listeners, echoing his own earlier metaphor of the “fire of light” that “feeds” on and transforms even the most “palpable oppressions of despair” (4:1058-77), that

The food of hope is meditated action; robbed of this
Her sole support, she languishes and dies.
We perish also; for we live by hope
And by desire; we see by the glad light
And breathe the sweet air of futurity
And so we live, or else we have no life. (9:21-26; italics added)

Though far too heterodox a believer in the God within to be in accord with every aspect of the Wanderer’s religiosity, Emerson, through allusion and influence, in effect records his agreement with the Wordsworthian “Author,” in the coda to Book 4: that the words uttered by the Wanderer “shall not pass away/ Dispersed, like music that the wind takes up/ By snatches, and lets fall, to be forgotten.” They “sank into me,” Emerson could say as well, the Wanderer’s words forming the “bounteous gift”

Of one accustomed to desires that feed
On fruitage gathered from the tree of life;
To hopes on knowledge and experience built;
Of one in whom persuasion and belief
Had ripened into faith, and faith become
A passionate intuition; whence the Soul,
Though bound to earth by ties of pity and love,
From all injurious servitude was free. (4:1291-98; italics added)

Emerson’s reference in his 1836 note to the “reappearance of his native mountains” suggests his recollection of the final Book of The Excursion, which concludes with a mountain vision, an elevated and affirmative perspective adumbrated by a passage, earlier in this ninth Book, which appealed immensely to Emerson. I mean the Wanderer’s metaphor of advancing age not as a decline, but an ascent—a “final EMINENCE” from which we look down upon the “VALE of years” (9:49-52). Thus “placed by age” upon a solitary height above “the Plain below,” we may find conferred upon us power to commune with the invisible world, “And hear the mighty stream of tendency/ Uttering, for elevation of our thought,/ A clear sonorous voice…” (9:81-92). In his twenties, Emerson endorsed this attitude, that of a “poet represented as listening in pious silence ‘To hear the mighty stream of Tendency’” (JMN 3:80), and in later life he frequently alluded to the passage—once in the immediate aftermath of Waldo’s death—in advocating an elevated, enlarged, more affirmative perspective. Praising “serenity” in his essay on Montaigne,” Emerson again echoes Wordsworth’s Wanderer: “Through the years and the centuries, through evil agents, through toys and atoms, a great and beneficent tendency irresistibly streams” (E&L, 709).

This perspective—optimistic, providential, luminous, and elevated—is reified in the grand sunset viewed by the Wanderer and the “thoughtful few” (9:658), including the Pastor and the Solitary, in the scene toward the conclusion of Book 9. A sunset is seen from a grassy hillside among “scattered groves,/ And mountains bare” (9:505-6). The rays of light, “suddenly diverging from the orb/ Retired behind the mountain-tops,” shot up into the blue firmament in fiery radiance, the clouds “giving back” the bright hues they had “imbibed,” and continued “to receive” (9:592-606). In the shared spectacle of this mountain sunset, the natural Paradise envisaged in one of Emerson’s favorite Wordsworth poems (the “Prospectus” to The Recluse) seems actualized, so that “a willing mind” might almost think,

at this affecting hour,
That paradise, the lost abode of man,
Was raised again, and to a happy few,
In its original beauty, here restored. (9:712-19)

If he is recalling the conclusion of Book 9, Emerson would surely detect Wordsworth’s self-echoing there of the Intimations Ode. The “little band” descends and makes its way in the boat across the lake in falling darkness, no trace remaining of “those celestial splendours ” now “too faint almost for sight” (9: 760, 763; italics added). The Solitary’s parting words, he having “on each bestowed/ A farewell salutation; and the like/ Receiving,” seem casual: “’Another sun,’/ Said he, ‘shall shine upon us, ere we part;/ Another sun, and peradventure more…’” (9:779-80). The Solitary has been gradually converted from a recluse isolated and despairing to one engaged in amity and social responsibility. Even at its most morbid and misanthropic, the Solitary’s conversation had, the Wanderer noted, “caught at every turn/ The colours of the sun” (4:1125-26). Reciprocal salutation and anticipation of “another” and yet another shared “sun,” coming from that “wounded spirit,/Dejected,” indicates the degree of “renovation,” “healing,” and participation in “delightful hopes” (9:771-73, 793) that has been achieved by the end of The Excursion. Appropriately, Wordsworth gives the Solitary words—especially that repeated, hopeful “another…”—that echo the Ode’s hard-earned victory: “Another race hath been, and other palms are won.” Six years after the death of his brother Charles, pitting the latent power of the divinity within him against, and yet in concert with, the impersonal Fate that had just taken from him his precious boy, Waldo, Emerson ends one of his most justly-famous journal entries: “I am Defeated all the time, yet to Victory am I born” (JMN 8:228)

Though that audacity is, of course, a far cry from the acquiescence in the divine Will espoused by Wordsworth’s pious Wanderer, what binds these Romantic strugglers together is their awareness, however affirmative their vision, that life involves loss, misery, pain, and ultimately death. There would be no need to seek so ardently for despair-transforming “hope” if there were not ample cause to despair in the first place. Even “optimism” arises from an agon. “He has seen but half the Universe who never has been shown the house of Pain,” Emerson confided to his aunt while recuperating from tuberculosis in 1827. “Pleasure and peace are but indifferent teachers of what it is life to know.” In his opening words in “Despondency Corrected,” the Wanderer tells the Solitary that he is to find in hope the “one adequate support/ For the calamities of mortal life” (4:10-24). In his essay “Fate,” a more Stoical or proto-Nietzschean Emerson concludes that “Every calamity is a spur and valuable hint,” hints or intimations that “tell as tendency” (E&L 960; italics added). Affirmation and freedom are always under challenge from oppressive forces, ranging from the faculties of “sense” that would dominate imagination and darken the light of all our day, to the distinct yet related loss of “hope” in the state Wordsworth calls Despondency and Coleridge, Dejection. What we require, says the Wanderer, is a faith which, once it becomes a “passionate intuition,” liberates us “From all injurious servitude” (4:1296-98). Among the worse forms of human servitude is despair, the “Despondency” the Wanderer seeks to “correct.” He may not, even by Book 9, have succeeded completely. But the Solitary has come a long way; and that, too, is a victory.

As his 1836 journal-entry confirms, Emerson found solace, even Wordsworth’s “total value,” in the Intimations Ode, in the “blessed consolations in distress” promised in the “Prospectus” to The Recluse, and in the comfort offered by the Wanderer in The Excursion. When a grief-stricken Emerson, devastated by the death of Charles, hoped against hope to “revisit” his own “native mountains that reappear” after we have traversed many a weary mile from our “home,” he thought of the Wanderer and his various doctrines—pantheistic, Stoic, Christian—of all-encompassing hope, at length in Book 4 and, concisely, at the beginning of Book 9. But his mountain-imagery also evokes the mountain sunset toward the end of this final Book of The Excursion. Consoled and “elevated” by the   intellectual and emotional companionship of Wordsworthian men able to convert “sorrow” into “delight,” the “palpable oppressions of despair” into the “active Principle” of hope announced by that stoical visionary, the Wanderer, the grieving Emerson saw his own native mountain-tops begin to reappear, to feel again that influx of hope, power, and “glad light” which is, in the familiar line he paraphrases from the Intimations Ode, “the true light of all our day”: a spirituality incarnate in, and indistinguishable from, such self-upholding men, “their spirit” being, as Emerson insists, “the spiritual world” itself (JMN 5:160-61).

As I said at the outset, were there time enough, I would have discussed the two Wordsworth poems Emerson ranked second only to the Ode. Both “Laodamia” and “Dion” are austere, tragic poems that reflect their classical origins, and yet hold out a vestige of consolation, either despite or because of their rather severe Neoplatonism. Emerson coupled “Laodamia” with the Intimations Ode as Wordsworth’s “best” poem on at least two occasions: in an 1868 notebook entry (JMN 16:129) and, six years later, in his Preface to Parnassus, his personal anthology of his favorite poems. If “Laodamia” and “Dion” are less than popular, even, in the case of the latter, barely known to most modern readers, that may be more a comment on the audience than on the artistry of two poems which are at once marmoreal and moving.

Certainly Emerson found them so, placing them just below the great Ode itself, which he considered the age’s supreme exploration not only of that “fountain light of all our day” and “master light of all our seeing,” but of the mysteries of human suffering and mortality. In lines Emerson had by heart, Wordsworth speaks of “truths that wake/ To perish never,” intimations so powerful that nothing, not even “all that is at enmity with joy/ Can utterly abolish or destroy” them. But, as that “utterly” suggests, this is no Pollyanna version of “optimism” The pain registered is real, and that original fontal light is poignantly and irretrievably lost. And yet he insists, as Emerson would after him, that it is “not without hope we suffer and we mourn,” and that implicit in even the most tragic loss there is a stoic and mysteriously spiritual compensation, a denial of grief uttered even as the heart aches:

What though the radiance which was once so bright
SPACEBe now for ever taken from my sight,
SPACESPACEThough nothing can bring back the hour
SPACEOf splendour in the grass, of glory in the flower;
SPACESPACEWe will grieve not, rather find
SPACESPACEStrength in what remains behind;
SPACESPACEIn the primal sympathy
SPACESPACEWhich having been must ever be;
SPACESPACEIn the soothing thoughts that spring
SPACESPACEOut of human suffering….

—Patrick J. Keane

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E&L  Emerson: Essays and Lecture. Ed. Joel Porte. New York: Library of America, 1983.

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, 1960-82.

L  The Letters of Ralph Waldo Emerson. 10 vols. Ed. Ralph L. Rusk (vols. 1-6), and Eleanor M. Tilton (vols. 7-10). New York: Columbia University Press, 1939, 1995.

TN  Topical Notebooks of Ralph Waldo Emerson. Ed. Ralph H. Orth, et al. 3 vols. Columbia: University of Missouri Press, 1990-94.

W  The Complete Works of Ralph Waldo Emerson. Centenary Edition. Ed. Edward Waldo Emerson. 22 vols. Boston and New York: Houghton Mifflin, 1903-04.

For the poemsEmerson: Collected Poems and Translations. Ed. Harold Bloom and Paul Kane. New York: Library of America, 1994; and Wordsworth: The Poems. Ed. John O. Hayden. 2 vols. New Haven: Yale University Press, 1981.

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 (2007).
Contact: patrickjkeane@old.numerocinqmagazine.com

Aug 102013
 

Diana-twistPhoto by Julia Sabot

 

I try not to dread my girls’ adolescence.  But I remember how I acted out with bad boys my parents knew nothing about. My mom trusted me; she drove me down to some sketchy party in Pittsfield at Nanci Mahoney’s stepfather’s cabin on the lake.  Nanci spelled her name with an “i” and smoked in the girls’ room and wrote death-wish poetry on her hand.  She’d taken me under her wing since we were in the same homeroom and both loved Stevie Nicks.  Nanci didn’t care that I was an Honors Class nerd, and I saw her as a doorway to experience.

In hindsight there was nothing my mother could have done to stop me.  Effortlessly the door opened and I crossed the threshold.  Now I have daughters I know it’s only a matter of time.

“Mommy, did you know in ten hundred years the sun will go out?”  Carmen speaks carelessly, delivering this Kindergarten fact the way she’d mention the life cycle of a frog.

“Really?” I say.  I’m at my post at the sink, loading the breakfast dishes.

“Yes,” she confirms.  “All the people will die.  And all the animals.”

“Wow.  Are you worried about that?”  I aim for curious nonchalance, my voice untainted by anxiety.  But my daughter has already raced off to join her sister in the playroom, where they have five minutes before school to line up their cow and horse armies for a major offensive.

Ten hundred years seems an eternity for a 5-year-old, but when I do the math it’s only forty generations.  Is this slapdash astronomy what Miss Lily— Carmen’s sweet-faced, sassy teacher, she of the brunette mane and the striped tops and the snug Seven jeans—  is teaching her charges at Circle Time?

I’m not concerned about misinformation.  It’s possible Carmen fabricated the future of the sun from something she read or overheard.  My youngest has an active imagination and an uncanny ability to sense the deep currents of adult affairs, even if she can’t understand them.

At bedtime I climb the ladder into her loft bed, pressed up close to the ceiling in a vaguely claustrophobic nest of pillows, blankets, Ducky, Big Duck, Fuzzy, Strawberry, and the rest of the guys.  My girl is naked as usual, too warm-blooded for PJs, her smooth, round belly radiating heat. We snuggle under covers and do our nose-rub and eyelash-kiss routine. Given the chance, Carmen will want to touch tongues, then turn this weird, wet intimacy into a full-on French kiss with an ardor that startles me every time.  The child is a sensual creature.  I don’t fear her passionate nature now, but when my mind fast-forwards a decade to Fifteen, I feel nausea.

Already Carmen can lie without thinking twice.  She often sneaks down from her loft after bedtime for gummy bunnies and string cheese, even though I’ve forbidden her to eat up there.  She’ll steal her sister’s Halloween candy and stash it under her sheets, or claim she hasn’t broken a glass when there are shards on the floor.  Small trespasses, yes— but is she capable of more?  One night she asks me what Daddy is doing.

“Watching hockey on the couch,” I reply.  “And I’m going for a walk.”

“Okay, Mommy. Good night,” she grins.

“Carmen… “ I warn.  “What are you up to?”

With tickling, the truth comes out. The kid is plotting to sneak downstairs and hunt for the leftover cupcakes she suspects are somewhere in the kitchen.  “And then I’ll hypnotize Daddy and invite my friends over and we’ll all have a cupcake party!” Her blue eyes widen and she laughs like a baby hyena, adorable but scary.  I push back the thought of her in high school descending a ladder of sheets, slipping into a car piled with boys, maybe a rusted-out, extra-cab pick-up.  The truck roars off down our dirt road in a trail of pebbles and sweet marijuana smoke.  At Fifteen, I wouldn’t have dared this kind of transgression, but Carmen has always been fearless.  I was a good girl who asked for a ride.

At Nanci Mahoney’s party, the dank cabin smelled of lakewater and cigarettes, and Nanci danced on the screen porch shaking her smoky copper-colored hair. I sat on a futon while a punk boy in combat boots drew a design in body paint on my shoulder.  He pushed up my tee-shirt sleeve and held me still.  Then he dipped the brush in black paint and began making delicate strokes on my skin.  The brush was a wet feather, more exotic than a fingertip.  Neither of us uttered a word until he finished; he’d painted an elaborate Anarchy sign on my deltoid, embellished with whorls and scrolls.

“There,” he said.

“Thanks,” I said.

In the background, The Church crooned “Under the Milky Way”— as usual, the song lyrics expressed my reality more succinctly than I ever could:  “Wish I knew what you were looking for/ Might have known what you would find…”

I didn’t make out with Punk Boy that night, but there were other parties.  When my Dad picked me up, I sank into his dark car, feigning exhaustion.  The leather seats encased me like a protective skin.  I told him no, I didn’t drink any beer, yes, the party was fine… kind of boring.  I was skilled at keeping small secrets. I’d learned from my mother, after all, just as my daughter is learning from me.

“Mommy, what’s more important—  friendship or kissing?” Carmen springs this question on me one night after a round of nose-rubbing and tongue-touching.  My skin prickles.  A miniature lightning rod, my child has picked up on sparks between me and a dangerously charming neighbor. The June evening simmers beyond our window; the first fireflies blink find me, find me out in the meadow.  I’m restless, ready to clock out of mom duty and go check my email.

“Friendship,” I answer firmly.  But sometimes electricity trumps everything, and you find yourself kissing without care of the future, kissing until your mouth aches, kissing as if the sun might go out.

—Diana Whitney

.

Diana Whitney is a yoga teacher, writer, and mother of two in Brattleboro, VT.  Her work has appeared in The Boston Globe, The Washington Post.com, Pilates Style magazine, Crab Orchard Review, Puerto del Sol, Lyric, and various other publications.  Diana has a Masters in English Literature from Oxford University, where she was a Rhodes Scholar, and attended the Warren Wilson MFA Program for Writers.  Her irreverent parenting column, Spilt Milk, ran for four years in several Vermont newspapers and is slowly working its way into a memoir.  Diana recently completed a book of poems, Wanting It.  She blogs at www.spiltmilkvt.com.

 

May 142013
 

Hilary, girl writer. Photo credit: Bill Hayward.Hilary Mullins, girl writer. Photo credit: bill hayward.

“Elephants Can Remember” is a sweet, all too brief memoir of a grandmother and a childhood from Hilary Mullins, a Vermont writer I have known since she was a student at Vermont College of Fine Arts, yea, these many years ago. Hilary was never my student but she has the gift of making friends, and she used to hang out in Francois Camoin’s room across from me in Noble Hall where a group of us would be drinking wine and talking late into the night. In this essay, Hilary writes about her beloved grandmother, nicknamed Germ, who was a force of nature, a tank, as one of her children called her, and a puzzle. One of the puzzles is how much she loved puzzles and mystery novels, especially the novels of Agatha Christie. This is Hilary’s fourth contribution to NC; she has previously published two sermons and a piece on Hurricane Irene in Bethel, VT. And it’s a gorgeous addition to our growing list of Childhood essays.

As an added perk we also have photographs of the girl writer by the renowned New York photographer bill hayward who happens to be Hilary’s uncle and who took the epic Gordon Lish photos we published a couple of issues ago. In an email, Hilary wrote: “For the record, the black and whites from my childhood were taken by Bill–check out that cowboy hat, eh? He gave it to me for my 5th birthday as I recall, and oh what a big deal it was. When I was 10 and he lived in Vermont too, I really couldn’t think of anything to do that was more exciting than going to visit my uncle Bill.”

dg

—-

One late summer day this year, I went up to the attic of the old house where I grew up, climbing the steep and narrow stairs to the open, slanted space, a familiar musty smell of aged wood and bat dung thick in my nose. Turning right, I walked along the top of the west ell of the house, threading between two long, chest-high mounds made by the sheets my father draped over shelves and boxes long ago to protect them from bat droppings. Though the bats are all but gone now—those little mummies wrapped in wrinkled sackcloth hanging upside down in clusters along the joists like dark seed pods everywhere–the sheets are still here, a sign of hope for their resurrection left so long I’ve forgotten what lies buried below.

But I’ve not forgotten what’s down to the right of the small, spidery window at the end of the ell: my grandmother’s things, boxes of pots and pans and chotzkes. Germie’s corner is how I think of that spot, and my guess is all of us in the family think of it that way: her stuff has been here twenty-five years, since she died one night in January  of ‘87, when I was just twenty-five myself.

Of course not everything my grandmother, whose name was Ethel, had is still here: five years ago, for instance, around the time of the anniversary of her passing, my dad and stepmother brought out a couple boxes of her jewelry, each of us at the dinner table choosing a few things, laughing as we picked through the baubles, fingering clip-on earrings, shaking our heads as we remembered the woman one of her sons, now gone himself, used to refer to as “my mother the Russian tank.”

elephants

So I knew the jewelry was gone. But that wasn’t what I was after: it never was. I was coming at last for the books. I had decided to write a mystery. Never mind I’ve never been a mystery reader myself: my grandmother was, most emphatically, and I thought I might take a clue from her. So pulling away the thin and dusty sheets, ashy attic grime smearing onto my fingers, I began to dig through the boxes until I found what I’d come for:  a book by Agatha Christie, the one writer I could remember for sure my grandmother had loved. And this particular book, called Elephants Can Remember, I even vaguely recognized, a hardcover book clad in an off-white cover, an outline image on the front of an elephant made up of puzzle pieces with one missing, a skull-shaped hole gaping just below his neck, the skull itself floating eerily just above, a bit of levitated, mock ghastliness I dimly remembered, the elephant and the skull and the book itself sitting on the shelf in her place, the top of which I could catch a glimpse of even now through the window in the attic, my grandmother’s two little kitchen windows below.

There in the little apartment fashioned out of the first floor of what once was a barn-slash-woodshed, a place we called, after her own joking suggestion, Ethel’s Luncheonette, she had read this book and done her crossword puzzles, my grandmother the Russian tank, a first-generation German born just after the turn of the last century, a stout woman with big feet and hands and a tissue stuck under the strap of her bra, a working class woman who liked her fancy clothes when occasion called for it, but usually wore colorful sweatshirts and polyester pants. Which, in my mind’s eye, she’s wearing still, enthroned in her large, wood-framed easy chair, sneakers propped on an overstuffed orange plastic hassock before her, cigarette adding its idle punctuation to her nonstop talk, that perennial bit of smoke drifting up from her fingers.

Germ in 1986, shortly before she died in this chair. Photo credit: Janet Hayward Burnham & Bill Hayward

Germ in 1986, shortly before she died in this chair. Photo credit: Janet Hayward Burnham & bill hayward

So, too, at night when Johnny Carson was over and we’d all gone to bed, she was in that chair, sipping her rum and Cokes, smoking her Pall Malls, drifting with her puzzles and er books long and late into the night, immersed in the word.

I, too, already, was immersed in the word back then, was famous—or infamous depending I suppose—for churning out book reports as steadily as our hot-air popper spewed out popcorn, reading books in bed, in trees, in class behind my Junior High English text book. And I was writing. Badly, childishly, but still. Writing. And as I got older and went away to boarding school, my stuff got darker.

My grandmother did not approve. “Why do you always have to write about sad things?” she’d chide me. “Write about something happy. People don’t want to read sad stories.” What did I say to her? I don’t know. All I remember is a little smoke between the ears, that particular keen-edged resentment young people can feel towards their all-knowing elders when they haven’t yet figured out how to articulate their own dissenting sense of a thing. Now, all these years later, it occurs to me we perhaps were after all, the same but different, going to books for analogous causes but in search of different balms. I wanted to find some expression, however transmuted, of the quiet disasters I was enduring. But my grandmother, I’d guess, went in order to think of different things altogether. And for that I cannot blame her.

Ethel Weippert Mullins had grown up poor in a large immigrant family, the oldest daughter of a violent German father who, I’ve been given the impression, would knock you across the room soon as talk to you, a policeman so infamously brutal that African Americans in Newark would cross the street rather than walk in front of his house. Though in the end my grandmother herself was a proud survivor, far as I can make out, life in her family was a series of catastrophes, her brothers drowning themselves in their bottles, one of her sisters becoming a drug addict, later murdered in the bathtub by her husband.

1975 Germ with her remaining siblings. Two--a brother and a sister--have already died (sister's murder is mentioned in essay).

1975 Germ with her remaining siblings. Two–a brother and a sister–have already died (one of her sisters was murdered). Photo credit: Janet Hayward Burnham & bill hayward

No wonder then my grandmother ran off just as soon as she could, fleeing with a handsome Canadian Irish man named Bernard who did not drink but gambled with the same reckless abandon her brothers had all taken to booze. For a while she lived with him in Montreal, doubtless hoping for a new and better life, but three little boys later, in the midst of the Depression, when that better life was not coming to pass, she left him, still so very young herself, and fled again back to the States to live with her mother in Connecticut, raising her sons on the rough side of Danbury and never marrying again.

Germ and her three boys in October of 1934. My father is on the left.

Germ and her three boys in October of 1934. My father is on the left.

So my grandmother, who’d had her fill of sad, quite understandably had no wish to go to books for more. Instead, I imagine her during those long nights alone, savoring her books and crossword puzzles like sweets, using their plots and grids to chart her way across the vast hours of darkness.

Because my grandmother stayed up so late, she also slept in, sometimes till as late as eleven, snoring so loudly that in the summer when we were little, we could hear her through the open window and catch scandalized glimpses of a high lump under the covers where we knew she was sleeping with no clothes on. But she was not to be wakened, a boundary she always reinforced by last thing at night locking her door, a Dutch-style door with an upper and lower half. Many a morning I gave that door a careful, quiet tug to see if it was still latched from the inside, but many a morning, it would not budge. Finally a half hour later, maybe a whole hour, you would hear it, the characteristic iron-striking-iron sound that door made when she popped the deadbolt open and threw back the cast iron swivel-arm that held the two halves together.

Then you were glad: the door was open and you went romping in, hoping for the spaghetti she would fry up with peppers and onions and eggs, hoping for her chipped beef, hoping for a hundred things. Because my grandmother gave continually, putting before us not just breakfast but dinner too some nights, and in between, brownies and chocolate puddings and games of cards, clearing her table to spread out another hand of Go Fish or Kings in the Corner. Summers she took us swimming, stowing a cooler in the trunk of her old Rambler which skittered up and down the dirt roads like an oversized Pepsi can. Then, at the lake, at a place where you could park all day for $3, we kids immersed ourselves like pollywogs in the miraculously clean water while she presided from the little beach in her lawn chair, the kind with aluminum pole legs and colorful plastic webbing, one leg crossed over the other, her big red painted toenails prominent even from out in the water. Finally, at some point she would always heft herself up and come in too, wading her bulk in, letting my little sister and me shimmy underwater through her legs a few times before she headed out for her own swim, using a stroke I still like to use myself from time to time, a combination of side and breast stroke, a strolling way through the water. Or she would roll over and rest there on the surface like a pontoon, placid and still. Her ability to do this mystified me. When I tried, I sank like a little barrel filled with sand. But she floated without even effort, imperturbable, content with her portion of water and sky.

1969, My brothers, sister and me

1969. My brothers, sister and me. Photo credit: Janet Hayward Burnham & bill hayward

Given all this, it was only natural we were keen in the mornings for our grandmother to wake. True, like any Russian tank, she might run us over from time to time—but never with malice, for though she was, to put it bluntly, bossy, she was not unkind. The only way any of us I think ever felt truly flattened by her was through her talk, which at times had a kind of stunning endlessness to it, a tendency which became more pronounced as she got older, the way she would neglect to finish the end of one sentence before taking off on another, fumbling for that tissue under her bra strap to wipe the sides of her mouth and yet still scarcely pausing, her words endlessly surging at you, as if you were trapped beneath a falls, the water coming constantly, bombarding you senseless.

Looking back, it seems to me some of this barrage must have found its springs in her loneliness—to come with us in the late sixties to rural Vermont, with its farmers and fields, our grandmother had left behind the rest of her family and friends back in Danbury, a move that had worked well when we were little, but to a large extent left her stranded as we got older and began to scatter and my parents’ marriage broke up too, leaving her alone for days on end three miles out from town on a back road, a situation that understandably made her not only angry but overly chatty.

Be that as it may however, much of my grandmother’s talk was more than chatter in overdrive: it was conversation, for she was a woman who had things she wanted you to know. And yet, for all her intense need to convey this or that or the next hundred things, there was also a way I began to understand she was not exactly communicating, at least not in the hopeful sense of the word. For that was the other thing: when it came to my grandmother and her talk, I often had this sense of her standing back behind the flood of words as if behind a tree at a river, calculating what she intended, peering out from her shelter to gauge your response. She had a way of leaving a key piece out, of hinting around it to see what you might know or think yourself, as if trying to flush you out first, rather than hazarding a clear statement of her own to begin with. She was always holding something back.

Of course I know now this is, more or less, the way the whole world talks. Always we too are leaving a key thing out, too afraid, too defended, or just too insensible, mis-trained as it were, to clearly say what we see and feel and think. I do it myself. And yet my grandmother did it more, feinting and dodging, retreating behind her words, where, in spite of all she said, she would not declare herself.  And that made her, as my sister-in-law commented recently, “hard to understand, that’s for sure.”

But let me be fair.  There were things plenty easy to understand about her, even when I was little. If I close my eyes for instance, I can still feel her hug, the way she would draw me close in, smushing me right up into her big mamma bear body, her large arms wrapping warmth around me. Truth is to be loved by my grandmother was to have a place in the world and be anchored there.

And so she held us, and so the years went on. And so too, even as we grew older, we still tugged at that door in the morning, and we waited, and we tried again.  And we also saw she was getting older herself, a fact which began to give her locked door another significance: I doubt I was the only one who began to regard it with some misgiving, dreading the morning that door would not open.

Don't know date--my sister and I

My sister and me. Photo credit: bill hayward

As it turned out, when that morning came, I was not there. My sister was though, home from college, with one of my brothers, the two of them finally resorting in the early afternoon to pushing open one of the small windows over Germie’s sink from the outside, my brother boosting my sister up so she could clamber in, crawl across the sink, and lower herself carefully down.  And when she came around the corner to the little sitting room, she found our grandmother still in her chair, crossword puzzle in her lap, already gone.

No more puzzles then, no more books either for our grandmother, just a poem I read at her funeral a few days later, a poem about a child and her kite, a poem that closed with the kite doing what it wants most, what the soul perhaps wants most of all in the end, to burst past night and rise through haze/ of radiance to a sky beyond these skies/where brighter beings float free of earth’s ties.

Was that really what we all believed? I don’t know: everyone has their own ideas about these things. In the end, the only thing we knew for sure was like the kite, she was gone: all we had left was a canister of ashes kept in the cupboard by the fireplace. But we knew they were not ours to keep either. Finally, two and a half years later, on a late summer morning, we took a row boat out into the lake she’d taken us to so many times  and sowed her ashes to the waters, watching the strange trails those powdery shards made across the surface, windings garnished with the wild flowers my sister had cut that morning from a field, a bright yellow profusion strewed out behind us.

1971

1971 Photo Credit: bill hayward

Twenty-five years now it’s been, and I miss her still, not with that stunning acuteness of first loss, but with a kind of keen wistfulness. Because of course I want her back. More than anything that was what brought me up to the attic to find her old Agatha Christie books. Fifty now, gaining on the age my grandmother was when I first knew her, I thought I might get a better sense of her through her treasures, even if those treasures seemed to me a little gaudy, a little cheap, the literary equivalent of her old costume jewelry. But that was ok: I was ready to be wrong about that. I wanted to like Christie. I was looking forward to digging into her pages, to casting around in her passages for some echo of my grandmother, of how she thought about things. Really, to be frank, I would say I was looking for a little philosophy, a little love.

But half a dozen Christie books later, all I can really say I’ve found are puzzles. True, they are most often well-wrought puzzles, wrapped in a requisite amount of deft characterization and dialogue, but it’s a comic world my grandmother’s favorite writer conjures up, not a place of depth. Where I look for meaning, Agatha Christie is producing clues. And yet that must be the key, I figure, when it comes to my grandmother. She loved her crosswords just as much as she loved Christie, probably because both are built on clues, and because the pleasure involved, I suppose, is what you construct in your mind with those clues as you read–along with the completed perfection of the thing at the end when Bingo! all the pieces connect.

Still, for someone with a poetic, even scholarly bent, this is not much to show for my efforts. So what if I’ve discovered my grandmother enjoyed putting clues together? And so the world is round, they say, and goes about the sun. And tomorrow is another day.

But let me temper myself. My disappointment is making me sell them both short. Christie may have thought of herself, for instance, as merely clever, but at her best, she does have a kind of mad genius for these puzzles of hers, especially in her inexhaustible churning out of those clues. For as limited as the settings in her books tend to be—a little clutch of characters in a teacup—Christie’s clues come in stupefying superabundance, the tart Miss Marple or the smug M. Poirot amassing bewildering thickets of them. In Elephants Can Remember, the book for instance, I found in my grandmother’s things, the murder is a dated one, but the same pattern holds, Poirot and his confidante, Mrs. Ariadne Oliver, a mystery writer of all things, flushing out aging clues from aging characters, many of whom make cameo appearances just long enough to contribute their little clue.

And yet even with this potentially slow-as-syrup scenario, Christie keeps the clues coming like a pitching machine gone haywire. And these clues have energy: they direct your attention. One tugs your nose one way, the next yanks you in another, and meanwhile, ten more are coming straight on at you, a blur in succession, a blizzard in your headlights.

Did my grandmother hang on through all this? I wish I could joke with her about it because I certainly didn’t. I just got buried, barely hanging on as chapter by chapter M. Poirot or Miss Marple navigated the way with lanterns, lead explorers in a cave at last clicking on the light, banishing darkness at book’s end to reveal a marvelously intricate design on the walls.

So yes, I can see the pleasure in all this. And yet my grandmother was right when she did not try to share her books with me, the way she did with my mother and sister-in-law, eagerly passing her favorites on. I think even if she did not approve of my tastes—and I’m afraid she didn’t, thinking of me as arrogant–she understood I did not go to books for Bingo, that I was not interested in that delicious moment when the chips all line up–a fact time has not changed. For we are different readers still, my grandmother and me. The only puzzles I really care about are the ones we cannot solve. And she was one of them.

Me the next fall, age 25, after she died in '87. This photo I just had scanned not cause I think it should really go in but because I like it. But it is about the age I was in the scene I describe at the end of the essay.

Me, age 25, the fall after Germ died in ’87. Photo credit: Kristen Mullins

A couple of years after I graduated from college, my grandmother asked me to drive her up to visit her sister-in-law Bernice in Toronto. I remember specially the drive north, the particular pleasure she took in that autumn day, a day that in my recollection is filled with an abundance of light, light on the glittering waters around the Champlain Islands, on the glowing swaths of the still green fields, light suffused in the richly brilliant reds and yellows of the maples.

Then we arrived at Bernice’s. Though she’d left Bernice’s brother so many years before, having nothing to do with him afterwards, I knew my grandmother had always stayed close with Bernice herself. I also knew she had once been a great beauty, but it was hard to discern even faded glory in this nice but shrunken old woman who hosted us, this continual smoker who seemed not so much caved in but hollowed out, as if the gods had sucked at her bones like straws, leaving her skin dry as old paper. She seemed to blink often and never once went out the whole time we were there, never once changed out of her bathrobe, slowly making her way around that small, smoky, always darkened apartment, a cave I was glad to escape from once or twice a day for the long weekend we were there, walking up to the wide open grounds of a local school to breathe and feel my legs again.

Meanwhile, back in the den as it were, my grandmother and Bernice were having their great visit, their last one in fact, something they both must have known was likely. One night they got into their cups and, stationed at one end of Bernice’s bed, which took up nearly the whole of the room, commenced to spin out some story, the two of them made merry and wise by drink, each adding bits to their patchwork of recollection, chuckling and chucking their chins, as people who have known each other for years will do, nodding sadly in one spot, smirking in another.

Because there was nowhere else to go in that stuffy, tiny place, I was in the room too, reading at the other end of the bed but made privy to their talk, the realization gradually dawning on me as their words filled my ears that for the first time, I was seeing someone who wasn’t just my grandmother, but a woman in her own right, a woman like me with an entire life teeming full of friends and work, heart-felt things, dramas, things I was suddenly keen to know about.

So as they sat there, mildly tittering over another thing somebody once had done, I asked a question about it, aware I might be trespassing, but feeling somehow that my motivation was good. Unfortunately my execution probably wasn’t. I think I went about it stumbling, the way a child does on skates the first time, awkwardly stiff, lofting my words self-consciously—or at least that’s how it feels in my guilty recall.

Because no grace came of it. Instead my grandmother turned on me as she never had before, rearing back with a snarl. “You might want to know, but you never will—you will never know the truth about my life!”

Think of a bear that smacks its young with claws out. Without moving from where she was the other side of the room, she landed a direct blow, one that even seemed sharpened with the pleasure she took in her ability to withhold herself from me, some spite in it surging across the years now as clearly as it did then, dazing me even yet because I still don’t understand it, why she reacted that way. And standing alongside her, Bernice in her bathrobe seemed to be wondering at it too, blinking, shifting her weight to another foot, looking away. I retreated.

The next morning I was back outside, walking the windy grounds behind the school up the block. Overhead, the dark sky was thickly blanketed in gray, a color that seemed to be overtaking everything–the field I was walking in and the trees that bordered it, their branches stripped, thrashing in the gusts that now and again tore across the exposed landscape. It was a Saturday or a Sunday, no children in sight, and I had no particular endpoint in mind either. I was just walking, chin tucked into my jacket as I crossed the gradual slope.

Then I saw it, though at first I did not understand what it was, some strange flurry of white in motion that only gradually came into focus: an old dictionary, sprawled on the ground in pieces, as if some defiant student had just ripped through it, shredding out the innards and heaving the covers aside. But rather than being destroyed, the words now were liberated, the pages everywhere, each one intensely peopled with words, and now in the wind they were scattering across the hillside like big bright leaves, they were swirling like a thrumming, eager flock, a gust lifting them at last in an eruption of wings, my baffled heart lifting with them.

August 1950, Germ working as an operator for Southern Bell. Note the bare feet!

August 1950, Germ working as an operator for Southern Bell. Note the bare feet!

The morning our grandmother’s door did not open came a few months after this, on the coldest night of that next winter, my sister finding her in her big wooden chair, the pen she’d been writing with still in her fingers but her spirit flown, her big friendly body uninhabited, an empty place all of us came home to circle around and grieve. And yet, now, even after all these years, we find it’s us she inhabits, secured behind a lock she will not throw back, but dwelling all the same deep within the marrow of our bones and brains, floating in us word on word, our grandmother, exquisitely puzzling, like the line of flowers and ashes she left behind, a bright and silent trail I am following still.

–Hilary Mullins

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Hilary Mullins lives in Vermont. She supports her writing habit by teaching college and cleaning windows and has been writing sermons for area churches since 2000. Besides her sermons and essays in NC and Vermont’s Seven Days, she has published a YA novel called The Cat Came Back.

Apr 062013
 

Patrick Madden and family in Uruguay

Patrick Madden, a tall man, a good friend, and a colleague at Vermont College of Fine Arts, is an erudite essayist who wears his erudition under a baseball cap with a twinkle in his eye, a ploy he learned, perhaps, at the feet of the master, Jorge Luis Borges. He is amiable and exacting, and always an immense pleasure to read. His effort to capture the essay as an ancient and protean form is evident in the amazing website — Quotidiana — an anthology of great essays from the past and a constant reminder that creative nonfiction wasn’t invented in a writing workshop five years ago (or ten). See also his terrific “Dispatches from Montevideo” at McSweeney’s Internet Tendency and, of course, his essay collection, also named Quotidiana.

Herewith we offer a tiny essay, a micro-essay, a playful bit of faux erudition, which, as Borges well-knew, most people can’t tell from the real thing. It is an imitation of something that doesn’t exist (endless message loops leading to absence), ever so ironic, parodic and yet shimmering with substance.

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I’ve long admired Jorge Luis Borges’s concision, the way he supposes the existence of vast texts (or objects) and writes subtle fictions from them while circumventing the texts/objects themselves. My fragment, “Essay as Evolutionary Advantage,” mimics “On Exactitude in Science,”[1]as a way to say something small yet profound about the important ways essays influence our selves or become ways of seeing and being in the world.

—Patrick Madden
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Essay as Evolutionary Advantage (après Borges)

…We may posit a time long ago, when our distant ancestors wandered the savanna in small nomadic groups. Those whose senses observed their surroundings most keenly, and whose minds could assimilate and organize information associatively, assured themselves longer lives and greater opportunities to breed. The rash, the simplistic, the routinary, the self-assured or self-righteous, the easily bored thrill-seeker, these personalities were doomed to superficial interaction and solitary, poor, nasty, brutish, and short lives. And what of those whose apprehension of the world was more than utilitarian, who stayed awake nights weaving stories, imagining the implications of every small detail, for whom the world retained its newness no matter how often they’d encountered it?

Cabrera Arias, Breve teoría sobre la evolución humana, Cap. VX, Colón, 1880

—Patrick Madden

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Patrick Madden teaches at Brigham Young University and Vermont College of Fine Arts. His first book, Quotidiana, was a PEN Center USA finalist. His second book, Sublime Physick, is forthcoming. He curates the amazing Quotidiana, an online anthology of classical essays and contemporary essay resources.

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Footnotes    (↵ returns to text)

  1. “On Exactitude in Science” by Jorge Luis BorgesXXXXX…In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.—Suarez Miranda, Viajes de varones prudentes, Libro IV, Cap. XLV, Lerida, 1658
Mar 112013
 

Fleda Brown

Fleda Brown herewith offers a wonderfully smart, touching essay about girlhood, clothes and, amazingly enough, poetry! How does she rope all this together? And touching? Yes! The sweet free tomboyish little girl (of a certain era), a professor’s daughter, running free the summer long half-naked and innocent, suddenly a young lady, going to school, in dresses and appliqued sweaters, proper girl’s clothes, an awkward and constricting mask that delivers her to the agony of fashion and fitting in and the awful kindness of friends who feel sorry for her. Fleda delivers the goods, the terrible moments of humiliation, guilt and misunderstanding we all go through as children, often centered around money, precious money and small dreams that go awry, often small events in retrospect yet still capable of making you wince and yet which do not defeat you — as evidenced by the delightful pun in the title.

This beautiful, human, raw essay is the last installment here at Numéro Cinq of a series of essays by Contributing Editor Sydney Lea and Fleda Brown, two old friends, also two poet laureates, who have been writing a book together, a call-and-response essay book as Syd likes to call it, one essay calling forth another on a similar topic. As Sydney writes, “My friend Fleda Brown, lately poet laureate of Delaware but now escaped to northern Michigan, and I are writing a book together. She writes an essay on a topic (food, sex, clothes, houses, illness, and wild animals); then I write one on the same topic. Then I write one and she follows suit. Etc. It’s fun, though I don’t know who in Hell will publish it.”

In fact Autumn House Books is publishing the book next month, April, as an e-book called Growing Old in Poetry: Two Poets, Two Lives. Other essays from the book published here at NC include Fleda Brown’s “Books Made of Paper” and three essays by Sydney Lea “Pony and Graveyard: A Dream of the Flesh,” “Unskunked” and “Becoming a Poet: A Way to Know.

I should add a somber note here. As you read this, Fleda Brown is being treated for cancer. She has been writing about her treatment under the title “My Wobbly Bicycle” at her blog at fledabrown.com.

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Well, you’d think this one would be MY subject. But I never had any clothes. That is how it felt. Oh, when I was a child, the first child, first grandchild, I was the darling of my grandparents’ and my aunts’ hearts. They crocheted, knitted, stitched, embroidered. There are boxes and boxes full of photos of me, wonder-child bedecked in sweaters, scarves, wool coats with fur trim, fur muff, delicate flowered sundresses and sunbonnets. Then I grew up.

My parents were getting along on my father’s assistant professor’s salary, with three, then four children, one of them seriously retarded and needing very expensive drugs. And neither of my parents thought of “managing” money. They talked and yelled and cried about “budgets,” but nothing ever changed. At least once a year, one of the grandparents would be applied to for assistance, which would arrive, accompanied by the fury of my father in having to accept it. Well, enough of that. The fact is, I had at least one requisite new dress in the fall when school started, usually two, plus new shoes, usually courtesy of a grandparent. Care packages of clothes would arrive now and then, things picked out by my grandmother, never clothes I wanted to wear. Many of them were a terrible embarrassment, all wrong for what I felt was stylish in my crowd, but I was made to wear them anyway. They were new and they were “nice.”

There was one sweater, white with appliqued flowers on it—a name brand and expensive. But the short sleeves had a tiny bit of a puff to them that felt dorky to me. And the flowers! Furthermore, my sister was given a matching one. A deadly move on my grandmother’s part. I was made to wear the sweater to school. I may not remember this right, but in my memory, as soon as I felt I could get away with it, I deliberately held the sweater under hot water until the bright flowers on the applique faded onto the white sweater. “How can I wear it, now?” I asked. Did I really do that or just dream of it? I can’t remember, but I am pretty sure that the fading happily happened. Of course my mother was somewhat careless about sorting clothes, so I may not have been the culprit.

Actually, after I got past the shorts-with-no-top age, I never had things I wanted to wear. I was furious when I was made to cover up with little halter tops, even before I had breasts. I was furious when I was made to wear dresses to school every day when I wanted to wear pants. Jeans were still in the future, but I would have invented them had I known how. I was most furious when I was made to wear a bra. I threw it across the room after one day in its miserable straitjacketing. I was furious when I had to wear stockings and garter belts and huge, full skirts with huge, full slips under them. I did not want to be a “lady,” although I didn’t particularly have an objection to being a girl.

Conversely, I longed to have ballet-slipper shoes, but I had flat feet and was forced to clump around in saddle oxfords or brown “Girl Scout” shoes.

Maybe I would have had fewer objections to girl clothes had I been able to buy the clothes many of my friends had—matching Bobbie Brooks sweater sets, straight and pleated wool skirts. The only days that I felt good about my clothes were the days the pep-club, called the “Peppers”—of which I was one—were required to wear their uniforms to school. We had white sweaters with a big purple B on the front, over a bulldog’s face, and purple pleated skirts. I fit in. I was just fine.

I was asked to join a high school girls’ sorority. Part of the initiation process was that two members had to come to your house and pick out an outfit from your closet that you were required to wear to school every day for a week. They usually picked outlandishly mismatched clothes, silly things. The two girls who came to my house looked through my closet while I stood aside, trembling with embarrassment. I had so few clothes and they were all so, well, not-quite-right. I could tell the girls were nonplussed. They did the worst thing possible: they felt sorry for me. They chose the nicest skirt and blouse they could find.

I always felt that part of the problem was me, that it was my fault I had no clothes. I was so headstrong:  with my baby-sitting money, I bought some beautiful plaid wool fabric. I had this idea I’d make myself a skirt and vest. I cut it out. I cut it out wrong. I had no practice and no guidance. Did I slow down and ask a friend’s mother for help? No. The awkward puzzle pieces I had cut would not go together properly.  I stuffed them in a drawer, feeling wretched and guilty, and tried to forget.

Seething underneath the clothes issue for me was the tacit sense of the role women were supposed to play. The clothes were indicative. By the time I was seven, I had to put on that halter top. But the boys didn’t. I had to wear dresses with ruffles, which made me feel decorated, ornamental, and as powerless as my mother.  I hated ruffles and still do. This is not, as I said, a matter of wanting to be a boy. It is a matter of wanting to move freely and feel essential, just myself, an L.L. Bean sort of person.

I look at the models in the ads in the New York Times. They seem to combine, these days, a look of both power and glamor. At least that’s what they apparently want to show: sleek tigresses, beautiful, furry, seething with power. But look into the eyes. It looks dead in there: the ads are pictures of women required to project tigresses. Women whose job is to sell clothes, who are desperate to hold their position in the world of high fashion, who will project anything you ask them to project.

Oh, really, I do like clothes. I always have loved the days when I’ve felt beautiful in my clothes. In the seventies, I had a pair of blue corduroy bell-bottoms and platform shoes that made me feel sharp and sexy.  I bought one mini-skirt, which I thought was kind of cute, but I was teaching school and found that if I raised my arm to write on the blackboard, I exposed more of me than my students needed to see.

In those few years I taught high school, I made some of my own clothes (yes, I did!): pants and tops, as well as many curtains and pillow covers. I made a few cute outfits for my daughter, one little bell bottom jumper with big lady-bugs all over it, with a matching purse. She was five or six and looked very Mod. I liked sewing. I was not too bad at it. It was all-absorbing, meditative, and I could imagine I was saving money. Then when clothes got cheaper than fabric, I gave it up. Also, I had more and more things to do that seemed more important to me than sewing.

I attribute my ambivalent attitude toward clothes to two things: my early lack of money and my tomboyishness. The purchase of clothes was always accompanied by a great deal of angst when I was young. There was so little money that when I had any to spend, I was terrified I’d make a wrong choice. I often did. And had to live with it. If I’d used my own money, I knew that every dollar I spent equaled two hours’ baby-sitting time. I would buy something, my stomach knotted up both from fear of making a mistake and fear of my father’s yelling about the money spent. I grew cagey about the latter. I could fudge on how much something cost. I could say I had to have it for school for some obscure reason. I could say I’d used all or half my own money. Or something.

And then the tomboy-thing. I wanted to look beautiful, I wanted to look like the girls in my class I admired. But what made me happiest was climbing around creekbanks in pants (no jeans yet, remember) and an old flannel shirt, looking for crawdads. Those clothes were the ones I loved best.

I think about the sociology of clothes. In the fifties and on into the early sixties, the styles, the requirements in clothing for girls and boys were as separate as our psychology was thought to be. Girls had to wear dresses to school unless the temperature was below a certain degree, I can’t remember what. But those days felt free as holidays, although we generally felt we must wear a skirt on top of the pants. When I was an undergraduate, girls were not allowed to wear pants on the University of Arkansas campus, except under a raincoat. And furthermore, they were not to wear them downtown. After all, they were “representing the University.” All winter, all of my young life, my legs were freezing cold. Because I was a girl.

Boundaries were clear. Unlike now, when cast-off 50s dresses are worn with cowboy boots, tight torn jeans with diamonds and a sleek silk camisole, a tuxedo with tennis shoes. And too, when future anthologists—if there are any—look back on this era’s poems, they’ll see hybrid poems that pull in all manner of objects and thoughts and commercials and movies and music. Poems in received forms and free-verse poems, poems that announce that they’re poems but look and read like prose. And prose poems.  Soft boundaries between genres.

And self-conscious display of the making, the mechanics of the poem.  The poet stepping in to say how it’s going, this writing of a poem.  Last weekend I attended a baby shower. The very-pregnant mother was wearing a long, form-fitting top and long skirt—very chic. It’s fashionable to let the belly show, the stark progression of belly-growth, to be proud of it. When I was pregnant, maternity clothes were shapeless bags we buttoned over our midsection to hide the protrusion. We were only a generation or so from the time when pregnant women were expected to stay inside as they started “showing,” as if any display of our sexual potency was shameful.

But even though now a woman can wear anything, really anything, she wishes and be acceptable on most occasions, somehow underneath, it feels to me as if that change hasn’t netted as much as we’d like to think. The truth is, I see in the faces of some of those women in pillbox hats and blue suits on reruns of ancient game shows more maturity and more command of themselves and their environment than I see in the faces of many young women today, who seem uncertain of who they are and what they want to be. Those women in pillbox hats were fitting themselves into a role, true, but they knew they had responsibility for that role, for enacting it well and truthfully—being a good wife, a good mother, a good housekeeper. These were not the women on Mad Men. The ones I’m thinking of were the real ones.

I don’t want to go back there, and couldn’t if I did. Same with poetry. This is an incredibly exciting time for clothes and poetry, it seems to me.  Exciting and necessarily unnerving. What we wear, what and how we write, is either demonstrating who we think we are, how we think the world is organized and what it all means, or it’s demonstrating who we’re supposed to be according to our culture’s norms. Who can tell which is which? These days I wear jeans almost all the time. I’m an attractive woman for my age, but not a glamorous one, although I passionately admire my gorgeously dressed friends. The glamour-gene bypassed me. I have a friend, a writer, who said her goal in life is to make enough money with her writing to be able to get up every morning, her only decision being which pair of jeans to put on. Amen to that.

 —Fleda Brown

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Fleda Brown was born in Columbia, Missouri, and grew up in Fayetteville, Arkansas. She earned her Ph.D. in English (specialty in American Literature) from the University of Arkansas, and in 1978 she joined the faculty of the University of Delaware English Department, where she founded the Poets in the Schools Program, which she directed for more than 12 years. Her books, essays, and individual poems have won many awards. Her sixth collection of poems, Reunion (2007), was the winner of the Felix Pollak Prize from the University of Wisconsin. She has co-edited two books, most recently On the Mason-Dixon Line: An Anthology of Contemporary Delaware Writers. Her collection of memoir-essays, Driving With Dvorak, was released in 2010 from the University of Nebraska Press.

She served as poet laureate of Delaware from 2001-2007, when she retired from the University of Delaware and moved to Traverse City, Michigan. In Traverse City, she writes a monthly column on poetry for the Record-Eagle newspaper, and she has a monthly commentary on poetry on Interlochen Public Radio. She teaches in the Rainier Writing Workshop, a low-residency MFA program at Pacific Lutheran University in Tacoma, WA, and she spends summers with her husband, Jerry Beasley, also a retired English professor, at their cottage on a small lake in northern Michigan. Between them, they have four children and ten grandchildren.

Feb 132013
 

Sydney Lea

Sydney Lea here attacks head on the dread subject of sex but manages somewhat quixotically to ride away (on a Shetland pony named Warrior Maiden) into utterly charming reminiscences about his youthful passion for Angie Morton (his version of Dulcinea del Toboso) and a shantytown and “Colored Graveyard” he would pass traveling to and from her house. This is an instance where an author makes a virtue out of necessity, doing a masterful job of being entertaining while not writing about what he doesn’t want to write about. As Syd writes, “Before I was able to publish the one and only novel I ever composed, for example, my agent had practically to horsewhip me into juicing up my characters’ erotic encounters.” Here are beautiful, lapidary lines: “Unrequitedness thus became, as I say, an expectation.” And a sweet reflection on the complexity of life which, yes, casts up metaphors that we spend the rest of our days decoding.

This essay, along with two others, “Unskunked” and “Becoming a Poet: A Way to Know,” published earlier on Numéro Cinq, are among Sydney Lea’s contributions to a book he has co-written with fellow poet laureate Fleda Brown. The book is called Growing Old in Poetry: Two Poets, Two Lives and is forthcoming as an e-book in April from Autumn House Books. The pattern of the book is a call-and-response. As Sydney writes, “My friend Fleda Brown, lately poet laureate of Delaware but now escaped to northern Michigan, and I are writing a book together. She writes an essay on a topic (food, sex, clothes, houses, illness, and wild animals); then I write one on the same topic. Then I write one and she follows suit. Etc. It’s fun, though I don’t know who in Hell will publish it.” We have also published here one of  Fleda Brown’s essays from the book, her wonderful meditation on books and reading, “Books Made of Paper.” And in our March issue, we’ll have another. I will be sorry to see this series end for us. (But buy the book.)

dg

 

growing_old_coverflat

A tricky one for me, this subject. Its once-upon-a-time factor must start at ten years old or so, before I understood sexuality except by some vague surmise, In those days, I habitually rode Warrior Maiden, my fat little Shetland pony, past Angie Morton’s house.  Angie was sixteen, I think, and movie star beautiful, at least in my eyes. She was scarcely taller than I, and would never grow taller, but her figure was simply statuesque.  She had raven hair, almost chalk-white skin, and the most penetrating eyes, ice-blue, almost white themselves, I had ever seen or would ever see after.

My hope, often enough repaid, was to catch her in her yard or, far more exciting, for reasons I must also have dimly surmised, through her bedroom window. No, that’s not accurate:  the compensation for my hope was never adequate. True, I couldn’t conceive what satisfaction might entail, but I knew Angie’s languid wave or, on happier occasions, her desultory word or two of chitchat was not it.

So desperate was my need for this young woman, whatever that need comprised, that I frequently extended my rides just so I could pass her house more than a single time on a single ride. I remember tethering Warrior Maiden to an apple tree and simply sitting under it for as long as I could bear, gorging on the wormy windfalls till I made myself queasy.  At least I thought the fruit was to blame for how I felt.

These delaying maneuvers resulted once in a frightening but thrilling trip home after dark.  In our corner of Montgomery County lay a small settlement of southern-born blacks, who had made the hard trek north in search of better fortunes. Most of them went to work in an asbestos mill in Ambler, though a fair share took jobs on local farms, or, if they were women, they labored as domestics in the more prosperous households. I found their little dwellings fascinating and somehow foreboding: in the warmer months, the front doors seemed always open, but the interiors were kept so dark that I could never quite make out the figures inside. In one tiny house, a harmonica seemed always to be playing, though I couldn’t find the musician. Each shack seemed multi-generational: I could tell that much by the wide variety of human heights among the shadowy occupants.

The shantytown had an aroma of cuisine, exotic, at least to me, pungent, and attractive; but the truly unusual feature of the community was its cemetery, with those knife-thin, tilting headstones, each adorned and surrounded by shards of broken glass, and the bordering trees full of suspended bottles.  To ride by that half-acre graveyard plot after sunset, and after having laid my adoring eyes on Angie; to hear indistinct rustlings of nocturnal animals in the brush; to be forced to rely solely on the pony’s sense of where home lay: this mixture of adventure, reverence, mystery, fear and trespass would come to serve as a kind of under-aura to such sexual experiences as I would have in my adolescent years– and later ones too.

However strangely it strikes me today, I seem somehow to have believed that my life would never amount to anything, that I would never know that obscure condition people called happiness, if I couldn’t be with Angie, even if, as I’ve conceded, I didn’t understand what that sort of “being with” entailed.

The notion was absurd, of course, and yet it didn’t end as I came to maturity, at least of the physical kind.  For too many years, I would spot a woman in some public place– museum, train, airport, restaurant, campus– and would be convinced that if I could not know her in the Biblical sense my entire life would be no better than despair. The inane measures I took to guarantee myself, if not a conversation with her, at least a glimpse of my exalted Angie were paltry compared to the extraordinary lengths I went to in order to put my person in the way of these coveted women. I can’t even describe the sanest of those tactics, so embarrassed do I remain by reflection on them.

The tactics, of course, were almost always met with rebuff, or simple non-recognition. Indeed, such a response was no more than I expected, the expectation itself a carry-over from my horseback days.  Not that Angie ever cruelly rejected me.  I suspect she knew full well the profundity of my crush on her, but she spared me all mockery, let alone recourse to nasty words.  She appeared always to have enough time for a brief exchange of remarks, which I both craved and resented.

None of her acknowledgments was enough. However banal my part in the conversation, I always hoped she could read it allegorically somehow, could know that my commentary on the weather, for example, was freighted with double-entendre.  Alas, she never appeared to decode the allegory, and despite my knowing, even at ten, that her failure to do so owed itself to my own clumsiness and to no defect in her, I was free to regard the failure as a kind of dismissal. Unrequitedness thus became, as I say, an expectation, though being the oldest son of a mother whom I seemed always to disappoint must have factored into all this too. That, however, is another story. Or at least I choose to think so.

I will be forgiven for lacking the temerity as a child to declare my devotion to the paragon Angie. But that I should remain oblique, even prudish to this day when it comes to talking about sex seems an odd thing, so elaborate and ardent were my efforts as a young man to get as much of sex as permitted by such charm as I owned and by 1950s mores, which I felt both thrill and shame to violate when I could. Before I was able to publish the one and only novel I ever composed, for example, my agent had practically to horsewhip me into juicing up my characters’ erotic encounters. Though the first draft referred to those encounters, it stopped leagues short of depicting them. In forty years of teaching, for further instance, I never felt other than acutely uncomfortable when discussing student work that showed significant carnal content.

One problem that has always concerned me, at least in my avatar as prose essayist, is what I call the temptation to closure. That is, I may lay out a series of memories, emotions, and events, and then discover myself hunting for a way to herd them into a narrative corral. I don’t know if that’s what I am doing here. I honestly do not. In any case, I wonder if my unease in talking about sex out loud or on the page may go back to a certain horseback ride after dark, when – full of vague lust, longing, and melancholy– I passed what was then referred to as the Colored Graveyard. The sense, as I lingered under Angie Morton’s window, that I was on the brink of an exciting but forbidden trespass may have been further impressed on body and soul by my traveling on horseback by those darkened cabins, each so full of mystery, then under those suspended bottles, which seemed to betoken a universe I had no right to visit. That, after all, was what made it so scintillating to imagine.

—Sydney Lea

——————————–

SYDNEY LEA is Poet Laureate of Vermont. His selection of literary essays, A Hundred Himalayas, was published by the University of Michigan Press in September, 2012. Skyhorse Publications just brought out A North Country Life: Tales of Woodsmen, Waters and Wildlife, and in April, his eleventh poetry collection, I Was Thinking of Beauty, is due from Four Way Books. His most recent collection of poems is Six Sundays Toward a Seventh: Selected Spiritual Poems, from publishers Wipf and Stock. His 2011 collection is Young of the Year (Four Way Books).

He founded New England Review in 1977 and edited it till 1989. Of his nine previous poetry collections, Pursuit of a Wound (University of Illinois Press, 2000) was one of three finalists for the Pulitzer Prize for poetry. The preceding volume, To the Bone: New and Selected Poems, was co-winner of the 1998 Poets’ Prize. In 1989, Lea also published the novel A Place in Mind with Scribner, and the book is still available in paper from Story Line Press. His 1994 collection of naturalist essays, Hunting the Whole Way Home, was re-issued in paper by the Lyons Press in 2003. Lea has received fellowships from the Rockefeller, Fulbright and Guggenheim Foundations, and has taught at Dartmouth, Yale, Wesleyan, Vermont and Middlebury Colleges, as well as at Franklin College in Switzerland and the National Hungarian University in Budapest. His stories, poems, essays and criticism have appeared in The New Yorker, The Atlantic, The New Republic, The New York Times, Sports Illustrated and many other periodicals, as well as in more than forty anthologies. He lives in Newbury, Vermont, where he is active in statewide literacy and conservation efforts.

Feb 102013
 

Bunkong Tuon

God damn it! Books make a difference. They get under your skin and into your brain and attach themselves to your DNA and change you. They become your father and your mother, your brothers and sisters and best friends, your confessor and therapist, your spirit guide and your kindly mentor. They make you fall down and weep, and they make you race to the barricades.

Bunkong Tuon’s grandmother carried him out of Cambodia on jungle trails on her back. In California, he was a lost kid, a dropout working in a donut shop, too bereft to find a footing in the West. One day he pulled a book off a library shelf and it changed him. The book and the author became this fatherless exiled orphan’s new father.

I still have a tough time reading these lines, they are so full of youth, splendor and joy, the young man (or woman) setting out on a life of books and writing.

I also remember walking into a local pawn shop and buying a used typewriter, the one where the keys got stuck after striking the second or third letter.  Still, I typed the night away on that thing, while my aunt slept in her room and my uncle made donuts at his shop in Bell.  I remember the cockroaches coming out of their crevices to keep me company.  It was magical then; the tuition was cheap, something like 200 bucks for each semester, and I had few responsibilities other than to read and write whatever I wanted.

This is a poignant, moving essay about loss, fathers, books, and writing. It is a lament and a confession. It is also a strangely hopeful message for us all.

dg

§

Maybe it was the wine in me that made me blurt out, “You know, I’m annoyed with having to defend ourselves all the time.  The writers I read in my twenties saved my life!”  Then I began to tell the story of how I fumbled into a local library, picked up a book from the shelf, read it from cover to cover, then went back to the same aisle and chose other books by that same author.  I told my friends how the author spoke to me that day and how he changed my life.

This happened at a party to celebrate the end of another academic term.  We were talking about the plight of the Humanities.  A few years ago, a local university eliminated several language, literature, and culture departments.  That fall, the President told the American people that, in order to build a strong future for our nation, we must support our education system—only math and science were specifically mentioned as important areas for development.  In the face of the current 7.9 percent unemployment rate, all of us knew how hard it was to talk about the values of the Humanities to our students, to explain to them why reading, discussing, and writing about literary texts matter.

The hostess of the party, a good friend, asked, “So tell us, BK.  Who was that author you were reading?”

And I couldn’t utter his name.  I was ashamed of him.

Once in an interview with the Franco-Swiss director Barbet Schroeder, this writer got mad drunk, cursed his wife, and literally kicked her off the sofa.  He was not a good man, but he was my literary father.

As for my biological father, I have written about him with pride.  My poems are a kind of love letter from an orphan to a father he never knew.  In “Cambodia: Memory and Desire,” I wrote, “My father sold ice cream in train stations,/ competing with street peddlers with his/ good looks and easy talk” (323).  In “Lies I told about Father,” I went even further with my admiration.

With a son’s quiet adoration, I chiseled you:
a gangster from the East, a Khmer Krom
whose veins bled out Khmer characters (not Vietnamese),
who, guided by fate, found himself in the West
and married mother for her virtue and beauty.

In my poems you drink because, well, real men
drink, curse, and sleep around (the cursing
and sleeping around, you didn’t do, of course,
because of your love and respect for Mother).

My father is mythic in my writing.  He is clearly someone I’m not: a “gangster” with a sense of adventure, a man’s man who can hold his liquor and charm his way out of troubles with “good looks and easy talk.”  The truth is: I never knew my father.  He passed away in Cambodia in the 1980s, while I was a high school student in Malden, MA. When my grandmother, uncles, and aunts left for the UN camps along the Thailand-Cambodia border in 1979, my father decided to stay in Cambodia with his new family.  Like many other Cambodians who had fallen victim to Pol Pot, his wife, my mother, had passed away from sickness and starvation under the Khmer Rouge regime in 1976 or so.  My father took another wife several years later, when Vietnamese forces liberated Cambodia.  Fearful that, as a stepson, I might be mistreated by my new family, my grandmother took me away from my father, carrying me on her back as she and her children trekked across the border, avoiding landmines and jungle pirates, to where the UN had set up a camp, rumored to have an abundance of food and medicine.

This is the story I’ve inherited from my grandmother, aunts, and uncles.  It is the story of a father I never knew, and, in the absence of knowledge, I have the freedom to invent him in any way I want.  Out of a desire to be like my cousins who have the good fortune to have fathers, I “chiseled” him, in that freedom that only imagination provides and that desires shape, in a way that made sense to me, an orphan refugee child.  In my writing about him, I never once mentioned the stepmother and my half-brothers.   The father possesses masculine qualities, or what, at the time, I imagined “masculinity” to be, with the hope that someday I would inherit those qualities myself: rough on the outside but gentle on the inside, good looking and, more importantly, good with words.  He is not necessarily a man of letters.  As long as he is comfortable in a social setting, able to leap with ease from one social group to the next, then this man is my father.  He is the father I never knew; he is the father I created.

The literary father, the one I knew, is the one I’m embarrassed about.  He is Charles Bukowski, the Los Angeles poet of the damned.  In his own belligerent way, the guy saved me, saved me from an early death of the mind and spirit.  In the early 90s, I was working for a maintenance service company in Long Beach, California.  From six in the evening to four in the morning, I’d go to people’s houses, offices, private and religious schools and scrub their tubs, mob their floors, and empty their trash.  Before that, I’d worked at my aunt’s donut shop in Bell, California.  I was never good at customer service.  Although I didn’t get fired, my aunt was quietly relieved when I found a job elsewhere.  And before being a failed donut maker in Southern California, I was a college dropout in eastern Massachusetts.  One day, I just stopped attending classes at Bunker Hill Community College.  I had gone there because a friend’s mother had taken me by the hand, had driven me to the campus, and had enrolled me.  And before community college, I had been a high school punk who had ditched classes one day to go skateboarding, had forged my grandmother’s signature the following day, had been busted and had been sent back home for a two-day suspension.  The school graduated me because they didn’t want me to come back.  They didn’t know what to do with me, just as I didn’t know what I was doing reading Shakespeare and Chaucer in English classes.  Neither the books nor the teachers could explain why I felt so different from my surroundings.  Nothing made sense.

But, for some reason, the world according to Bukowski did make sense to me.  On that day in the local branch of the Long Beach Public Library, Bukowski spoke to me.  I can still remember that day: a typical sunny Southern California day, nothing strange about it.  I got up about ten in the morning after a night of cleaning toilets, mopping floors, and emptying trash bins, and mysteriously, I felt an urge, a summoning, to go to the library.  I borrowed my uncle’s car, drove to the nearest library, and sat in its parking lot, watching children and their parents going in and out and thinking about that closeness—that intimacy and trust with another human which seemed to evade me somehow.  Once the parking lot was empty of people, I got out of the car and made a beeline for the library’s entrance, which I walked quickly through, eyes downcast, towards the walls of books on one side of the large room, where I could hide myself.  I roamed in aisles of books until I found myself in front of the A-B row, picking up and putting back several books until I came to Play the Piano Drunk like a Percussion Instrument until the Fingers Begin to Bleed a Bit.  The world then opened up for me.

It was a world of men and women who had lost their way, a world of sadness and cruelty with occasional beauty, a world of outsiders living on the cultural margins.  Somehow the filth he described in those poems felt pure and honest, and the madness seemed sane, a logical outcome of being exiled from Eden for so long.  Writing, for me, and I think for Bukowski too, has to do with working with that state of exile, where loss is the center of many ghostly things and homelessness is what you have always known.   I don’t think we can ever fill that void, so we write about it.  No matter how much we believe in the transformative power of words and the imagination, loss is eternal.

After devouring Play the Piano Drunk, I began picking out other poetry books by Bukowski and reading them in that section of the A-B row: Burning in Water, Drowning in Flame, The Days Run Away like Wild Horses over the Hills, Dangling in the Tournefortia, and that wonderful collection of poems and short stories, Septuagenarian Stew.  I can’t imagine what it would be like to sleep in roach-infested bungalows and seedy motel rooms, buy cheap wine by the gallon at a liquor store on L.A.’s skid row, or bet on luck at your local race track, but I could relate to the feelings of alienation, loss, desperation, and loneliness from which Bukowski’s bums, drunks, gamblers, and prostitutes suffer.  It was the feeling of being broken and living with it, although I knew then, just as I know now, that our brokenness has different sources.  For me, it was that historical rupture of being ripped away from home—from my mother, my father, my Cambodia.  My poetry collection, Under the Tamarind Tree, came out of this historical moment; it’s a story of a refugee child trying to piece together the broken pieces of memory, of places and lost time, and rebuilding himself.

The title poem, for instance, has to do with my most powerful and early memory of loss, the death of my mother under the Khmer Rouge regime.  Here is my exile from Eden.

The child is sitting on the lap
of his aunt, under the old tamarind tree
outside the family home.

The tree stands still, quiet
and indifferent.  The house sways
on stilts cut from the bamboo tree

in the backyard, where grandfather’s garden lies.
Monks in saffron robe, and nuns with shaved heads,
their lips darkened with betel-nut stain, sit

in the veranda of the family home, chanting prayers
for the child’s mother in Pali, which sounds like
a nursery song from which the boy is excluded.

Incense perfumes the hot dry air.

There emerges a strange familiar song
between the child and his aunt that day—
a distant song, melodic but somehow harsh,
as if the strings are drawn too tight—

Each time the child hears Buddhist prayers
coming from the house, he cries;
each time he cries, the aunt, a girl herself,
pinches the boy’s thigh.

The boy cries because he doesn’t understand
why strangers are making noise while his mother
is trying to sleep.  His aunt pinches the child’s thigh
because it is her first taste of loss.

The Khmer Rouge eliminated from their utopia, their Cambodia in Year Zero, any trace of Western influences, which they saw as corroding the country’s moral and cultural fiber.  Schools, banks, the free market, hospitals, and religion were abolished.  Monks were forced to defrock or face death.  That was how my grandmother came to marry her second husband, the only grandfather I knew.  But, in this poem, I gave my mother a proper funeral rite.  In the face of filial duty and an orphan’s desire to do something right for a mother he never knew, I gave her the dignity and respect of which the Khmer Rouge had deprived her and many others.

On that day in the library, I also found in Bukowski a voice that was clear, direct, and raw.  I was a kid who had barely made it through high school only to become a community college dropout, but I actually understood what I was reading.  There were no tricks, gimmicks, and secret codes to be deciphered by the select few, the educated and well-informed readers.  When the wellspring of Bukowski’s poetry books ran dry at that library (the Dana Branch of the Long Beach Public Library), I turned to his semi-autobiographical novels.  Post Office, the book that put Bukowski on the map, wasn’t exactly Ulysses or Finnegans Wake, and Ham on Rye was no A Portrait of the Artist as a Young ManBut they were easy for me, a college dropout, to understand.  Bukowski was a writer for the common man, who recognizes immediately when someone is in pain, when he is burning in water and drowning in flame.  Pain is pain: it’s immediate and real, and Bukowski was good at capturing it unflinchingly.

So free, so private, so enormous, that moment in the library, that rebirth, and like any birth, so full of possibilities, so hopeful, so alive.  In “How Everything Changed,” I described what happened to me that day:

It was in one such corner, hidden away
from the sight and sound of suburban
mothers and their children, where I
picked a random book off the shelf:
a book of poems by that drunken
old man, a book filled with social misfits
and outcasts, drunks and prostitutes,
barflies, cockroaches, and vomit;
at that moment, I felt my first breath.
I was gasping for air.
I felt my own sweet suffering in others.
Loneliness was extinguished,
and compassion bloomed in my chest.
I am telling you this, so that you know
in the worst storm of your life this mad love
can hit you, smashing you into billion pieces,
interconnecting with everyone and everything.    

On that day, I was somebody new.  I didn’t want to die anymore.  After the poems, short stories, and novels (it had to be in that order, for my child’s mind was still learning to build a mental picture from each joining of words) came the essays, where Bukowski introduced me, in his own arrogant way, to other writers.  Somewhere, somehow, in that web of intertextual electricity, I came to Hemingway and Carver, the French poets (Rimbaud, Baudelaire, and Genet, who scribbled his own dirty notes in prison), and the Russians like Chekhov, Tolstoy, and that great psychologist and spiritual advisor, Fyodor Dostoyevsky.

I wanted to be a writer then, but I knew I couldn’t write.  I didn’t have an education.  I enrolled myself at Long Beach City College, taking classes that interested me, classes in philosophy, history, anthropology, and English—relearning the basic skills of reading and writing and returning to those books I was required to read in high school and couldn’t get through the first page.  I remember reading late into the night Shakespeare’s King Lear for an English class and being moved to tears.  (Many years later, as an English professor, I watched a Shakespeare & Company’s performance of the play with friends from the college, and I still couldn’t hold back the tears.)  As for Chaucer, I found his Canterbury Tales as dirty as, heck, even raunchier than Bukowski’s Notes of a Dirty Old Man.

I also remember walking into a local pawn shop and buying a used typewriter, the one where the keys got stuck after striking the second or third letter.  Still, I typed the night away on that thing, while my aunt slept in her room and my uncle made donuts at his shop in Bell.  I remember the cockroaches coming out of their crevices to keep me company.  It was magical then; the tuition was cheap, something like 200 bucks for each semester, and I had few responsibilities other than to read and write whatever I wanted.  I wrote songs and poems, with occasional flash fiction thrown into the mix.  The writing was amateurish at best; the topics were the usual explorations of angst, love, and death, but there were a handful of poems that were honest, reflecting my life experience, such as “Early Saturday Morning in Malden, MA (1986)”:

Saturday morning
grocery shopping at the only Asian
market in the city;
putting back fish sauce and soy sauce,
picking up milk, bread, and cereal,
I told Grandma to be quiet—

Because Jeanine and her mother were there too.

When I had too many credits at LBCC, they gave me an Associate Degree and transferred me to California State University in Long Beach, where I took a poetry workshop with Gerald Locklin.  Locklin was a rock star to me.  He was the only person I met who had met the man himself, drank with him, and invited him to read at the university.  Bukowski had already been dead several years; so Locklin was as close as I could ever get to my literary father.

After Long Beach, I went to graduate school at the University of Massachusetts in Amherst. I was simply fearful of the life of poverty that Knut Hamsun’s nameless character had suffered in Hunger.  I knew enough of hunger in the refugee camps to keep me from falling into romantic revelries about the starving artist.  In graduate school, I did what I had to do.  Most of my time was spent deciphering the works of Derrida, Foucault, Lacan, Bhabha, and other theorists.  Nevertheless, I managed to eke out a memoir, Under the Tamarind Tree, on which my poetry collection is based.

Then I won the academic version of winning the lottery: I got a job after graduation.

I now teach at a private liberal arts college in upstate New York, working with students whose life stories aren’t exactly like mine.  I’ve shared my story with those students who have come to my office and seem to have lost their way, reminding them of the magic and possibilities in life’s offerings, of finding one’s voice and passion and, in the words of Joseph Campbell, of following one’s own bliss.  But I have yet to talk openly with my colleagues about Bukowski without feeling anxious.  At a place where I can’t afford the cars that some of my students drive, I feel embarrassed, inadequate, that the writer who influenced me, who gave me life, was a bum who roamed skid row, jumping from one rooming house to the next, working odd jobs and writing in roach-infested motel rooms, cursing the world for worshiping other writers while forsaking him, being god-awful mean to women and men, to whites and blacks alike.  I already feel different enough with the way I look and how much money I have in my bank account; I don’t want to also feel different intellectually.

Listen, I’m not suffering from what Harold Bloom calls the anxiety of influence.  I don’t have an oedipal complex with Bukowski: I’m neither denying his influence nor trying to topple him, nor do I tremble under the shadow of his great name or from holding his books in my hands.  I know who I am, know where I came from, and know what kind of stories I like to tell.  Maybe, as is the case with our biological fathers, we don’t choose our literary fathers, no matter who they happen to be.  Maybe Carver is right.  “Influences are forces—circumstances, personalities, irresistible as the tide,” he writes in “Fires.”  Carver became a poet and a master of the short story because he didn’t have time to work on a novel.  When he was learning his craft, Carver was a young father who had little money and felt overwhelmed by parental responsibilities.  He tells us:

During those ferocious years of parenting, I usually didn’t have the time, or the heart, to think about working on anything very lengthy.  The circumstances of my life, the ‘grip and slog’ of it, in D.H. Lawrence’s phrase, did not permit it.  The circumstances of my life with these children dictated something else.  They said if I wanted to write anything, and finish it, and if ever I wanted to take satisfaction out of finished work, I was going to have to stick to stories and poems. (34)

Under “those ferocious years,” Carver didn’t have a room of his own in which to develop his craft. It was his teacher, John Gardner, who offered the young writer his office in Chico State University to write on weekends.  So, by necessity, by circumstance, Carver became Carver.

As for me, I became who I am because of Bukowski, because of the circumstances surrounding my early years, because I left home and lost my way.

I wish I could go back to that party and, without hesitation, without much anxiety, answer my friend’s questions, “Who was the writer who influenced you so much?  What was the book that you read in that library?”

He was Charles Bukowski, a poet from L.A.  The book was Play the Piano Drunk like a Percussion Instrument until the Fingers Begin to Bleed a Bit.

 —–

Works Cited

  • Carver, Raymond.  Fires: Essays, Poems, Stories.  New York: Vintage Books, 1989.
  • Tuon, Bunkong.  “Cambodia: Memory and Desire.”  The Massachusetts Review.  45.3 (2004):
    319-329.

—Bunkong Tuon

————————–

Bunkong Tuon teaches in the English Department at Union College, in Schenectady, NY.  His poetry and nonfiction have appeared in The Massachusetts Review, The Journal of War, Literature & the Arts, The Truth About the Fact: International Journal of Literary Nonfiction, genre, The NYAPD Journal,  Khmer Voice in Poetry, and In Our Own Words: A Generation Defining Itself.

 

 

Jan 312013
 

Joe Milan
Herewith Joe Milan’s lovely, ever so slightly melancholy portrait of the Seoul he has come to know teaching at the Catholic University of Korea. This is contemporary Seoul, dominated by a priapic, neon-lit tower, the traditional architecture destroyed by war and rebuilt to resemble someone else’s urban dream. What should be his own world is strange to Joe Milan; his life in the city is punctuated by memories of home in America and rumours of war. His Seoul is a complicated place, riven with memory, tradition, absence and paradox. But sweepers shape the piles of raked leaves to look like hearts and the rice cakes his grandmother serves have the scent of pine.

This is the latest in our growing collection of What It’s Like Living Here essays, the 41st in fact. Think of that.

dg

Seoul Tower

Concrete

Seoul Tower, a tourist magnet in the heart of the city and the best quick way to see the place, reaches into the sky, perched alone on a forested hill apart from the packed clothing shops, red sauce stained food carts and sterile department stores of Myung-dong. In the shade of trees, you huff your way up the winding road. There are heart shaped piles of leaves raked onto the walkway and every few meters piles of rocks stacked beside the path. A young child, biting his lip, totters toward one of the piles with a rock. His mother cheers him on, “Put it on the top and make a wish.”  Years ago you did the same. But unlike this child, you tumbled and fell short before the stack.

The tower stabs the sky, a rocket ready to leave the trees and the ancient rock walls behind. For centuries this hill was a lookout. You imagine bored men with long beards and spears in hand staring out to the ridgelines, waiting for the signal fires of incoming invaders. Today’s soldiers stand watch on hills fifty kilometers north of Seoul. They are mostly eighteen and nineteen-year-old boys doing their military service, cursing their fate, waiting for a different sort of fire that would pop and boom and flash and screech and burn.

Heart-shaped leaves

When you reach the elevator doors it is dark until the walls burst into blue light from hidden projectors in the ceiling. An image of the tower at night appears on the elevator door, back-dropped by stars that you had never seen in the sky in Korea. Lasers write in English “love n tower.” You wonder if they are going for “lovin tower” or “love in tower.”

At the observation deck you’re greeted by an attendant dressed in white and black like a maître d’. She bows slightly–a nod really–and motions you around the half-wall to the windows that surround you. From up here the city is field of concrete buildings and glass towers rising and falling toward the river: the Han River. You are not sure, but it could mean the “One River,” or the “Korean River,” or even the “Suffering River,” but your Korean isn’t as good as it should be. The river is a bluish crack between the two halves of gray city. Crisscrossing veins of tight alleyways wrinkle the city, hold the city together with backstreets wide enough only for scooters loaded down with TVs and tin boxes of cheap Chinese food. Alleyways walled with brick and concrete branded with random acts of paint that always seem to morph into the same dull gray. This gray, like fog smothering and hiding a hillside, is the Seoul you remember from your childhood visits.

But this isn’t the same city. Speckled in the gray are wide highways and glass towers and miniature red brick boxes that litter the gray field to the base of white stone mountains wrapping the city. Your eyes trace the spine of the mountains where, long ago, tigers cloaked by the black of night, crept down and preyed upon the villages clustered just outside of the city walls. Now on those same peaks blasé hikers dressed in florescent pink and blue Gortex drink rice beer and eat savory pancakes.

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You think of the mountains of your life in America, the jagged knife edges of the Cascades and the Olympics: young and bold mountains skirted in a shag of green. These mountains in front of you have spots too ragged for the trees where the naked rock shows white. The new concrete poured over cracks in the alley by your apartment, yet to turn gray from the rains, is white, too. The rains leave trails of gray streaks clinging to the cracked corners of windows and the bars that guard them. You think about the concrete your father taught you to pour. When you rushed, didn’t let it settle right, tiny fissures and wrinkles broke to the surface. He would shake his head as his finger traced the cracks and say, “Haste makes waste, boy.”

Here, in Korea, elderly faces speak of decades of haste.

 

Have you eaten?

You finger the stenciling on the window in front of you. It reads 9,596.52 Km to Los Angeles. Seattle is in the same direction, though not as distant. You remember the cold damp air coated in the smell of pine and cedar. Below the tower, to your surprise, are green blotches dropped in the gray field: parks. They’re newer, brighter, than the growth on the mountains. This is where old men in Member’s Only jackets, hunched over lacquered wood boards tattooed with black grids, play Go. They argue over where the next white or black game piece should go. Old women gather in the parks, too, chatting while they unpack their foiled rolls of seaweed and rice: Kim Bap.

The other green blotches are the palaces with tree lined parade grounds rebuilt for the umpteenth time after the invasions that came every century or so. Out of the rubble of the last invasion, people rebuilt Seoul anew with brick, glass and concrete. They rebuilt Seoul replicating the buildings of the world outside of Korea. The replicas of itself are the only buildings built with wood.

You try to find your apartment, Block 20. One gray lego block among thirty other blocks flanking the glistening steel bowl of World Cup Stadium. Twenty-five years old and already your apartment looks dilapidated. You’ve considered calling a location scout. You would tell them, “Hey man, I got the perfect place for you to film 1984 and you know remakes are all the rage.”

When you open the creaking cold metal door, walk down the half-wall corridor, step into the dark stairway where the lights flicker to life after a few steps, emerge out of the building into the hazy sunlight, and find your way through the maze of double parked cars jamming the parking lot, you see them. The retirees. Beside the first floor windows they crouch over trashcans and styrofoam packing boxes tending their gardens of verdant life. The old men and women are guerrilla gardeners suited up in dirty white gloves and teal visors. They start early in the morning, planting, weeding, battling the gray one clump of vegetables at a time. No one tells them, “You can’t do that” since, they are old. And here, at least for people, age gets respect.

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A vine has snaked up three floors of your building, clinging to your window, offering what could be cucumbers, or some knobby vegetable more bent and rugged than anything you’ve seen at the supermarket. Can you take one for a salad, or will a battle-weary old woman come knocking on the door to ask for her harvest?

From the trashcans and styrofoam boxes along the sidewalks, the gardens grow. On rooftops and huddled in demolished housing lots, these gardens grow. But you know this is no green fad. This is memory that is spoken even now in the elderly’s greetings, “Have you eaten?”

 

Sirens

Yesterday you pushed and swayed and weaved through the currents of people in the subway station and jammed yourself into the subway car. You let go of your briefcase and it didn’t fall to the ground. It floated, defying gravity, hanging with the friction of bodies dressed in suits.

Youthful figures in black, their headphones jammed in their ears, all silently ignoring the chug of train tracks as if this is part of a pact where everyone pretends not to be clutched by the crowd swaying with the train. The flat-screen monitor above the exit doors loops a video about how to use a smoke hood hidden in padlocked glass boxes at the station. There are at least ten steps and you felt like you should take notes. There had been fires on the trains before.

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At lunch you heard the sirens. Wailing loudspeakers erupted from their hiding spots on poles painted like trees. Fake branches and leaves shrouded the speaker horns and square boxes. Radio transmitters? Looking out your office window, you saw the cars stop and the sidewalks cleared. You waited for the flashes from a far off ridgeline, artillery fire booming and shells smashing and battering the buildings, dogs howling, fires exploding and engulfing the city then raging and rioting all the way up to the peaks. The office corridor hummed without pause, and you heard someone laughing. You alone, it seemed, wondered of the possibilities.

 

English

Everything in Seoul Tower is in English. Everything new is tattooed with it. On neon signs jutting off buildings, on the menus in the Korean dive bars serving “pork intestine,” in catchy commercial slogans, and on K-pop tracks that old expats describe–with derision–as nothing more than “nursery rhymes slapped over euro-techno beats.” English isn’t hidden away in the enclaves of black walled of foreign bars of Itaewon anymore. It was in those kind of places you hid after work, always looking for a blank space of wall to add your name in chalk. You hid there with the other English teachers and American soldiers. Those places are gone like most of the people who wrote their names on walls.

In Itaewon, vendors shout in English “we have clothes in your size.” But outside this little corner of Seoul, you force yourself to speak Korean, hesitantly, trying to spit out phrases while gagged by the rocks of verbs and conjugations. In the beginning you motioned and pointed and people would look at you with confusion and ask, “Mwol?” But now, they understand you and applaud you. You can order yourself a coffee. It is something, although your pronunciation is butchered to the point of another language altogether. Being half-Korean doesn’t help. Nor does that feeling of shame whenever you utter that fact and they search your face for something left behind.

You worry that your English is getting worse. With lightning speed, chopped and spliced with slang, you feel lost with your friends in America on the phone. English is continuing without you as each year passes. You are losing your ear for the only language you have while surrounded by a language you should have had.

 

The concrete house

As you make your way back to the elevator in Seoul tower, you see through an opposite window a fog of buildings climbing a hill in the distance. That’s where your grandmother lives. You know it; its shade of gray is darker and older than the rest.

Next week is Chuseok, an ancient holiday celebrating the harvest and the dead. Your apartment, like the subways, the streets, all the gray city should be empty and cold except for a few stragglers without a hometown or a family to go to. Almost no one is from Seoul. You’ll buy a box of fruits to give your grandmother and you’ll carry it with you on the abandoned subway on one of the few days you can get a seat.

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But the night before Chuseok, you’ll gather with your friends and have a few drinks. Someone’s girlfriend will feel bad for all of you. And before she leaves for her own hometown, deep in a dark corner of a friend’s concrete walled apartment, you and your foreign friends–who each have lost a parent to one disease or another–will solemnly stand as she lays out a table with food and empty plates. She will tell you this is a Jaesa: a way to honor the departed family spirits, something many Koreans don’t do anymore.

There will an empty plate set out for your father. You’ll pour liquor into a shot glass and circle it around the incense smoke three times and pour it out into a bowl. Taking a fork, instead of chopsticks, you’ll clang it down three times against your father’s empty plate and rest it on the fried fish dish. You’ll imagine him tearing apart southern fried catfish, the crumbs littering the plate. He had always missed “real catfish from way back down home.” He would say the same here, but maybe the thought will be good enough. Three times all the way to the floor, resting your forehead against your hands, you’ll kneel and bow and breathe deep. Then you’ll walk out of the room so your father’s spirit can eat. You’ll miss your father as you stare at the web of cracks scarring the wood print linoleum floor.

On Chuseok you’ll go to your grandmother’s apartment. The two of you will eat: glassy japjae noodles, chilly red pork, and damp white and green rice cakes filled with sugar and the smell of pine. Afterward, as the sun sets behind the haze, you’ll walk with her through the grayed alleys on cracked pavement. Soon her neighborhood, built forty years ago, will be torn down and buried in memory for newer apartments that too, will crack and gray with the rains. She will say in Korean to her friends that pass by, “This is my grandson. This is my grandson. He came home for Chuseok.”

When you reach the old house that she lived in years ago, built when the concrete buildings were new and clean, she’ll say, “This is where I lived.”

“I remember,” you’ll say.

—Joe Milan

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Joe Milan has spent nearly a third of his life traveling and living outside the borders of the USA, and his most recent landing is in Seoul where he writes and teaches at the Catholic University of Korea. Joe is a recent graduate from the Vermont College of Fine Arts .