Light On Dark Water

"An Earthier Accent"

Shakespeare in the original pronunciation. Completely fascinating.

 

Sally Thomas: Brief Light

I could go on for a long time--I've already gone on for a couple of months--planning to write a substantial review of this splendid book of poems, with a lot of attention to its specific virtues. The result would be a pretty good appraisal and appreciation. But I have a lot to do, and am generally pretty distracted; it could be a long time. So I'm going to content myself with a brief notice.

I don't have much of an appetite for contemporary poetry. Few people do, of course, but I should, since I make the occasional attempt in that direction myself. Back in the 1970s I knew a lot of aspiring poets who were working on MFAs in creative writing, and they read their contemporaries in great volume, often to the neglect, I thought, of older and better work. Now and then I followed someone's recommendation and read a little in one of these poets, but very little of it made much of an impression on me.

Worse, it was frequently somewhat off-putting for reasons that I couldn't articulate. I think that had to do with the sensibility of the writers, and in that term I'm including not just personality but the effects of the poet's general view of things, including his or her theology, or rather lack of it in most cases. Frequently there was an obvious verbal gift, and an impressively close--often too close--attention to sensory, mainly visual, detail, which is a sort of convention in poetry since the early 20th century. But the poems just didn't seem to add up to much. Stylistically a very mannered school had arisen, as mannered in its way as the 18th century establishment against which the Romantics rebelled, and it was in general not a manner I liked greatly. And the sensibility tended strongly toward what I have elsewhere called the Stoic Resentful. For these reasons, and for some other, more fundamental lack of aesthetic response, I just didn't find much to like. I'm sure I've missed a lot of good work, but I didn't have the time to seek it out among the ordinary.

What that has to do with Brief Light is not that it stands in utter contrast to the prevailing mode, but that it is in fact to a great extent in that mode, yet with so much skill in execution, and with such a different sensibility, that it does seem a different and better thing. I will admit that my spirits tend to sink when I see a Catholic poet praised for being Catholic, especially if at the same time he or she is praised for rejecting the modernist method and writing in strict forms. The result is frequently not much more than adequate, but one hesitates to criticize it because its intentions are so good. It's like much, if not most, Christian rock or "CCM"--Contemporary Christian Music: maybe pretty good, but never quite as good as the secular stuff. There's usually something constrained about it, a sense that the artistic impulse is being forced into a container that doesn't really fit it. We want Catholic artists, yes. But we don't want to have to condescend to them, to make allowances for their defects, to hold them to a lower standard than we would others. 

We want Catholic art that fully and naturally embodies its own life, that goes where it goes not because some disconnected hand is pushing it but because that's where it naturally goes. And we want the same standard of craft that we would expect from any art. Aesthetically at least, we generally have the sensibility of our times--we can't help it--but we want it transformed by the leaven of Catholic faith: transformed, all the way through, not just painted.

We have what we're looking for in this book. Formally, it fits in perfectly well with most of contemporary poetry. It's subtitled "Sonnets and Other Small Poems," and I haven't counted, but I think half at least of the poems have fourteen lines and are in some variant of sonnet form, from fairly loose to fairly strict. This is not unusual nowadays; form has made something of a comeback. Its rhetoric is contemporary, and even, I think, shows the influence of the MFA school (for instance, in the one thing that I would criticize here and there: the creation of a verb from a noun, as in the snake "sluggarding in the woodpile"). But its sensibility is deeply Catholic although belief is hardly mentioned directly. I suppose I mean that it seems to see things in the way a Catholic ought to see them.

 All right, then. But can I be more specific about what makes these poems such a pleasure? I'm not very good at describing poetry, or much inclined to do so. It's no more useful than describing music: a few broad words to indicate the general impression, and then one must read or listen. These poems are intelligent, wise, distinctly feminine, sharply observant, occasionally witty, suffused with deep feeling and a consciousness of the enormous significance of our small lives and the small things that fill them...yeah, yeah, all true, but that doesn't mean much until you experience them. It seems inappropriate to reproduce an entire poem here, and after flipping through the book for ten minutes I find no passage I want to quote, because, fine as the lines might be in isolation, they are on their way to something more powerful than they alone can accomplish, and it seems a shame to interrupt their journey.

I am able resolve this dilemma by pointing you to a poem on Sally's blog: On New Year's Eve: Letting the Time Go Where Time Goes. It's not in the book, but it's representative. That thing she does with the last line is a good example.

Did you read it? See what I mean?  Go buy the book.

Big Savings! Now! Hurry!

Should have posted this yesterday (or whenever it was that I first saw it). Go here to get 20% off the price of Sally Thomas's book of poems, Brief Light, today. It's not very expensive to start with, so with the discount it's down around the price of a fast-food lunch, or even one of those elaborate coffee concotions.  I've had a copy for a week or so but haven't had a chance to sit down with it yet. But I've seen some very good poems on her blog. And here's a sample at Patheos.com.

Sally Thomas's Lenten Sonnets

are very, very fine. I know it's the internet, but do yourself a favor, force yourself to slow down enough to take in one or two, then come back later for more.

My Aesthetic Philosophy In Two Sentences

If a composition has no strangeness, there is no virtue in its stability. Stability without strangeness is the work of a commonplace hand; strangeness without stability, of an immature hand.

—Gong Xian

Quoted by Eve Tushnet. 

W. S. Merwin: Notes To A Lost Text

Sunday Night Journal — November 7, 2011

For many years I’ve thought of writing some sort of lengthy appreciation of W.S. Merwin, but the project has never made it to the top of my list, and it’s time I accepted the possibility that it never will. Last year when he was appointed Poet Laureate I thought I would at least do some sort of blog post about him; now his year in that position has come and gone and I never managed to get that done, either. So, on the Chestertonian principle that anything worth doing is worth doing badly, or better late than never, or better something than nothing, here is...something, though perhaps the applicable aphorism is “too little, too late.”

Did you even know the U.S. had a poet laureate? I believe it is a renaming of what used to be the nearest thing we had, poetry consultant to the Library of Congress. At least, back in the days when I was somewhat more conversant with the contemporary poetry scene, that seemed to be considered a sort of pinnacle of what passes for fame for poets. As someone said—it may have been John Ashbery—on being asked what it was like to be a famous poet, “being a famous poet is not like being famous.”

In those same days, roughly 1971-1976, Merwin was very highly regarded, and imitated, by aspiring young poets, at least those of my acquaintance. As is often the case with poets having a very distinctive style, the influence was not necessarily for the best. Mediocre work in the vein of, say, Hopkins, or Dylan Thomas, or early Eliot, inevitably seems like mere imitation, and draws attention to the fact that it is not quite as good as the original.

Unlike most of the people I knew in the local literary scene, I didn’t read much contemporary poetry, and didn’t like most of what I read. I held on principle a general sort of disapproval of it. I thought the whole direction of modern poetry—free verse, the French-influenced imagism, the obscurity, the flat rhythms—was a big mistake, and had neo-classical or formalist, and definitely traditionalist, ideas about what I wanted to do. More fundamentally, I just didn’t think much of it was very good—it was competent and occasionally memorable, but it hardly ever affected me deeply. Merwin’s work did, though. I was won over when I read his 1967 book The Lice. Specifically, I think it was this poem, at the time and I suppose still, considered one of his very best, that won me over:

For the Anniversary of My Death

Every year not knowing it I have passed the day
When the last fires will wave to me
And the silence will set out
Tireless traveller
Like the beam of a lightless star

Then I will no longer
Find myself in life as in a strange garment
Surprised at the earth
And the love of one woman
And the shamelessness of men
As today writing after three days of rain
Hearing the wren sing and the falling cease
And bowing not knowing to what

Setting aside what I thought or think about whether this manner of writing poetry is the way it ought, ideally, to be done—that is, whether one thinks it a healthy development for the art—there is also, philosophically and religiously and psychological, something pretty unhealthy in this book. It’s desolate and disoriented:

Rain falls into the open eyes of the dead
Again again with its pointless sound
When the moon finds them they are the color of everything

(“The Asians Dying”)

And at night wrapped in the bed of ashes
In one breath I wake
It is the time when the beards of the dead get their growth

(“When You Go Away”)

Out of the morning stars the blood began to run down the white sky and the crowd in tears remembered who they were and raised their hands shouting Tomorrow our flag

(“Unfinished Book of Kings”)

I could go on and on, quoting the whole book. Looking through it again now for the first time in ten years or so, I’m reminded of how many of these poems are perfect in their way, and that even the ones I like less always have something stunning in them. They are often obscure, but not in the tight, logically rigorous way of some of the earlier modernists who were taken with Donne, the way of the riddle or puzzle. This is the way of intuition, instinct, and a definite touch of surrealism. One does not look for a precise physical analog to the bed of ashes, or the blood running down the sky; one accepts them as images of isolation and dread. (Actually the ashes might be pretty straightforward as a reference to a bed empty of the one addressed in the title.)

Isolation. Desolation. Loss. Alienation. Disorientation. Absence. These are the abstractions with which one attempts to describe the atmosphere of this book. And if those words told the whole story, I wouldn’t like the poems as well. But there is always in them the consciousness of what is missing, and an occasional glimpse of it. My friend Robert said something many years ago about Merwin’s work that has stuck in my mind ever since: that it was like “notes to a lost religious text.” I believe he was talking about Writings to an Unfinished Accompaniment, but it applies to most of the work that I love.

I’ve never quite made up my mind whether or not I believe in something along the lines of a collective mind or instinct, something that brings certain ideas and moods to the forefront among a large segment of humanity: the skepticism of the 18^th century, for instance. Perhaps such things are explainable as being simply a matter of the time being congenial to the idea—but when we say that, what have we really said? Why was the time congenial? In any case, whether or not there is some mysterious force behind it, these phenomena do occur. Something happened in the 1960s, throughout the western world, at least. It involved the breaking down of structures of all sorts. For some people in some situations it was a liberation, for others a collapse, and sometimes the same situation was a liberation to some and a collapse to others. And sometimes the same person felt it simultaneously as liberation and collapse. I think that could be said of Merwin, and of my other favorite artist of the mid-20^th century, Ingmar Bergman. Their work of the 1960s is often similar in tone, movies like The Silence and Hour of the Wolf seeming to come from a very similar place as some of the poems in The Lice. Both men were the sons of Protestant ministers, both seem to have lost or rejected belief in God, but were left with a sense of loss and a fear of meaninglessness, and created works of art which express a deep spiritual yearning. Their sense of dislocation is almost apocalyptic; they seem to see an abyss opening, and the modern world plunging toward it, or already falling.

What I’ve seen of Merwin’s early work was pretty conventional for its time, which is not to say it wasn’t very well done. The few poems I’ve seen from that period were formal in structure. It was in The Moving Target, published in 1963, that he began to develop the style that produced his most original work: he dropped all formal regularity, including meter, line length, stanza patterns, and finally punctuation, as in the poem quoted above. At a glance you might think his line no different, formally, from the lifeless “free verse” that a high-schooler might produce, but anyone with an ear quickly discerns that it has its own shimmering rhythm, and that each poem has a definite graceful shape, all the product of considerably more skill than is immediately apparent.

It is The Moving Target and the following three books—The Lice, The Carrier of Ladders, and Writings To An Unfinished Accompaniment—which are for me, and I think for many of Merwin’s admirers, the heart of his work. The Lice, by the way, is the darkest of the four. I have followed him only as far as 1992’s Travels, which has its moments but was the latest of several that didn’t seem to me on the level of his work of the ‘60s and early ‘70s. He also seems to have become more political over the years, in the usual left-wing artist sort of way. The great books have some memorable and powerful poems on political and environmental themes, but from the Reagan years forward I have occasionally run across remarks from him that were the sort of bared-teeth leftism that I thought could hardly fail to have affected his art.

But never mind that. The great work remains. Here is another poem from The Lice, one that reminds me of both Bergman and St. John of the Cross. This book, by the way is the darkest of the four mentioned above. And also by the way, the intent of the title is not to disgust and repel: it is the answer to a riddle which, according to Heraclitus, stumped Homer: “What we have caught and what we have killed we have left behind, but what has escaped us we bring with us.”

The Room

I think all this is somewhere in myself
The cold room unlit before dawn
Containing a stillness such as attends death
And from the corner the sound of a small bird trying
From time to time to fly a few beats in the dark
You would say it is dying it is immortal

***

I haven't really made much attempt here to describe the effect of Merwin's poetry on me, and apparently on a good many other people, and to explain why I like it so much. That is the part of the unwritten essay that would require the most work and even then be inadequate. As with  most art, the old saying applies: for those who understand, no explanation is necessary; for those who don't, no explanation will suffice. You will either have responded to the two poems reproduced here, or not. If you did, and are not already familiar with Merwin's work, you should seek it out.

Another From the Notebooks

January, Mid-Afternoon

Probably 1972-ish.

Excavating the Remains of a Career That Didn't Happen

Some may remember that I have a web site that includes three categories of writing: Prose, Verse, and Blog. I brought the prose over to this blog some time ago, but the verse has taken some time. I've finally got the poems that were on the old site here--see the Verse item in the sidebar.

I used to think I was going to be a poet, though outside a span of four or five years in the 1970s it was always a pretty off-and-on effort, and mostly off after I decided to go into the computer programming trade. And one of the many, many items on my list of things to do, one that's been there for a long time, is to go through all my old poems and publish here those that seem worth salvaging. Here is the first, "That Night". It never had a title till now but I thought it needed one, so there it is.

I hope to add at least one poem a week until I've gone through the lot.

Why do I call the category "verse" and not "poetry"? Because of my favorite teacher, Dr. Eugene Williamson, who always used that word to refer to anything that was technically verse, as opposed to prose. It had to have a little more going for it than being broken up into lines for him to call it poetry. "Written any verse lately?" he would say. I was thrilled the first time he congratulated me on having written a line of poetry. The poem disappeared long ago but I remember the line:

The charcoaled embers of our modest hope

Sunday Night Journal — December 5, 2004

Some Kind of Artist

A few weeks before the recent election the arts section of our local paper featured a discussion of the fact that so many artists are on the political left, sometimes the fairly radical left. The editor put the question to a number of local artists, and the unsurprising answer that many of them gave was a variation on the theme that artists are superior people who naturally embrace superior ideas. This of course brings to mind Orwell’s “herd of independent minds,” and I can think of several less flattering explanations for the phenomenon under discussion.

But I’m really more interested in the underlying assumption: that “creative people” are fundamentally different from everyone else. I consider this idea not just false but pernicious, doing an injustice to the vast majority of the human race and considerable harm to art, artists, and culture. Among other things, it carries an implication which is pretty much insane: that the definition of art is “what an artist does.” Some twenty-five or so years ago I heard on NPR an interview with an artist which made clear both the madness of this idea and its grip on the world of the visual arts (at least—it doesn’t seem to have the same hold on literature and music). This disturbed fellow’s art included cutting himself with razor blades before an audience. The interviewer, a nice intelligent liberal fellow, was obviously appalled, but, not wishing to appear a Philistine, seemed to be trying not to show it and to treat this sick stunt as just the latest manifestation of the same gifts and intentions that were exercised by Leonardo. But at one point he couldn’t resist asking the question “Is this really art?” The “artist” of course pounced on this; I remember thinking that he had been waiting for just such an opening: “Yes, it is. I am an artist, and therefore what I do is art.” I wanted to reply “No, you are a nut, and therefore what you do is nuts.”

The truth, I think, is that every person is a creative person. The artist—by which I mean one whose primary vocation is one of the arts—may be more creative than most people, and he really must be more skilled in some particular craft than most people, but I deny with every fiber of my being the idea that he is intrinsically different from, still less superior to, them. It’s hard to see that the term “creativity” can mean anything more than the manifestation or expression of the interplay between a unique self and the rest of the world, which of course is always subjectively unique. In that fundamental sense almost everything we do, unless it is a strict and mechanical obedience to the orders of another, has in it some tincture of creativity. We all, for starters, have our own way of talking. We have our characteristic ways of constructing sentences, turns of phrase, witticisms, the occasional simile of our own invention, and so forth. Language in fact is a torrent of mostly anonymous creativity: the other day, listening to a sports talk show, I heard a football coach describe a thin player as having “a neck like a roll of dimes.” Various schools whose football programs are not doing very well have been described as being under attack by the terrorist duo of bin Losin’ and bin Cryin’.

Going a step further into what we more typically mean by “creativity,” we see it in much of our everyday work: a woman rearranging the furniture in her living room or decorating a cake, a bricklayer fitting the pieces of a paved path, a software developer designing a more efficient algorithm, all are exercising a degree of creativity. Our technological civilization in fact surrounds us with the work of engineers, product designers, and advertisers of all sorts who are extremely creative; although we may not consider what they do to be art and don’t credit them with being members of the fragile and superior class of creative persons, I don’t know how one could reasonably define creativity in such a way as to deny that they possess it.

A number of 19^th and 20^th century thinkers, such as the Catholic artist, typographer, and sculptor Eric Gill, railed against the factory system precisely because it removed the element of creativity from work, making the worker an inhuman automaton. Indeed we are now seeing the replacement of traditional assembly line workers by robots and if this did not involve unemployment we would have to consider it a good thing.

I certainly would not deny that there is a distinction between the fine arts, in which the object is made and valued principally for itself, and the useful arts, in which the object has some function outside itself. But the distinction is not hard and fast and I don’t believe there is any qualitative difference in the human impulses and gifts exercised in either case.

And when I say that everyone is creative in some way, I don’t mean to imply that there is no hierarchy of quality in the arts, or that everyone should be encouraged to write or paint or make music, whether or not they have any talent, on the grounds that creativity is only real if exercised in those arts. I’d have us understand Eric Gill’s aphorism: “The artist is not a special kind of man, but every man is a special kind of artist.” I might even go so far as to say that the term “creative person” is redundant, although the addition of an adjective such as “more” or “less” can make it useful.

Whenever I think of Gill’s words, I remember a poem by James Seay, whose writing classes I took in college. The poem was called, if I remember correctly, “Kelly Dug a Hole,” and although I don’t remember much of the poem itself I remember Jim’s account of its subject, a man who could dig a hole with perfectly square corners and perfectly straight sides. As I remember, Jim said he thought Kelly could have been, in the right circumstances, an artist of some kind. But that’s only half-right: he was an artist of some kind—as was my uncle Jimmy, who was a bookkeeper (or something) by trade but painted the walls and ceiling of his children’s playroom with vertical stripes that tapered perfectly from a foot or so wide at the baseboard to a point where they met at a light fixture in the ceiling. When I expressed my astonishment (not too strong a word) at the skill involved, he just laughed, as if to say it wasn’t that big a deal. And in a sense he was right: the skill was unusual, but the impulse and some ability, however slight or mundane, to exercise skill and imagination belong to us all.