Stay Focused When Out on a Walk

Edvard Petersen, A Walk in the Woods

Tuesday

It was perfect October walking weather in Sewanee yesterday so here’s a John Cowper Powys poem for how to take full advantage of such hikes.  Piece of advice #1: Focus on your surroundings and do not let your mind drift to “thoughts unmeet.”

In fact, if you’re a poet, it’s your job to “give speech to stones and wood.”

If you don’t, Powys tells us, the silent trees above your head and the silent pathway at your feet will shame you:

“Alas!” they seem to say “have we
In speechless patience travailed long
Only at last to bring forth thee,
A creature void of speech or song?”

So don’t let mind fill with trivial notions. Stay present:

Wood and Stone

THE silent trees above my head
The silent pathway at my feet
Shame me when here I dare to tread
Accompanied by thoughts unmeet.

“Alas!” they seem to say ” have we
In speechless patience travailed long
Only at last to bring forth thee,
A creature void of speech or song ?

“Only in thee can Nature know
Herself, find utterance and a tongue
To tell her rapture and her woe,
And yet of her thou hast not sung.

Thy mind with trivial notions rife
Beholds the pomp of night and day,
The winds and clouds and seas at strife,
Uncaring, and hath naught to say.”

O Man, with destiny so great,
With years so few to make it good,
Such fooling in the eyes of fate
May well give speech to stones and wood!

I looked up Powys and discovered that he is a descendant of 18th century Romantic poet William Cowper. Perhaps Powys is inspired by how his ancestor gave speech to stones and wood in his poem The Task:

For I have loved the rural walk through lanes
Of grassy swarth, close cropped by nibbling sheep,
And skirted thick with intertexture firm
Of thorny boughs: have loved the rural walk
O’er hills, through valleys, and by river’s brink,
E’er since a truant boy I passed my bounds
To enjoy a ramble on the banks of Thames.

This incidentally is only one of several walks that Cowper describes in his poem. Cowper was Jane Austen’s favorite poet, a clear forerunner of William Wordsworth, and someone well worth reading.

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Covid Denial and Illusions of Mastery

Flemish artist unknown, A Young Woman on Her Death Bed (1621)

Monday

The United States hit 700,000 Covid deaths over the weekend and it’s as though we hardly noticed, even as our local county hospital—like hospitals across the American south—fills up with unvaccinated Tennesseans. In this pandemic of those who refuse to get a shot, it appears as though certain Americans have “mastered the art of losing” their fellow human beings, to borrow a line from Elizabeth Bishop’s poem “The One Art.”

I do not count myself amongst them. No fatalist, I am doing all I can to protect myself, my wife, and my 96-year-old mother. I would rage against either of them dying or against getting critically sick myself. But as I look out and see that only 36% of the eligible people in our county are fully vaccinated—and that only 24% of those in adjoining Grundy County are—I can’t help but think resignation has set in. As the speaker says in the poem, if you learn to accept losing something every day, soon you can resign yourself to losing even loved ones. “Even losing you (the joking voice, a gesture/ I love),” she writes, “I shan’t have lied” (about achieving mastery). In other words, one can write off dead people the way one writes off lost keys.

The poem sounds more like someone dealing with forgetting rather than with death—maybe the onset of Alzheimer’s or the alcoholism that Bishop suffered from. But it partially works in our case. At the end of the poem, the poet must forcefully remind herself to “Write it!”–in other words, interrupt the sweetly flowing rhythm and rhyme of losing and acknowledge that what she’s witnessing actually is a disaster. Because she has allowed losing to creep up on her, she has become numb to the catastrophe that’s staring her in the face.

700,000 deaths and counting is what disaster looks like. The only way to shrug that off—to master the art of losing—is to deny your humanity.

The One Art
Elizabeth Bishop

The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.
—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

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Bright Shoots of Everlastingness

Nicholas Maes, Jesus Blessing the Children (1652-53)

Spiritual Sunday

Our rector Rob Lamborn recently explained to us that we are not to read anything warm and fuzzy into Jesus embracing little children. There’s a reason why, in this week’s lesson, the disciples speak sternly to people bringing their children to Jesus. Children at that time were essentially nobodies until they grew older.

Jesus, therefore, turns conventional wisdom on its head when he says,

“Let the little children come to me; do not stop them; for it is to such as these that the kingdom of God belongs. Truly I tell you, whoever does not receive the kingdom of God as a little child will never enter it.” And he took them up in his arms, laid his hands on them, and blessed them.

It was not until the 18th century and the Romantic revolution that people began to see children as special conduits to the divine, as Wordsworth does in Intimations of Immortality. He thinks back to his younger days, remembering,

There was a time when meadow, grove, and stream,
       The earth, and every common sight,
                          To me did seem
                      Apparelled in celestial light,
            The glory and the freshness of a dream.

And later:

            Not in entire forgetfulness,
                      And not in utter nakedness,
But trailing clouds of glory do we come
                      From God, who is our home…

Before Wordsworth and Rousseau, however, children were pretty much seen as they had been in Jesus’s day, which was as imperfect adults. Perhaps it was because of high infant mortality, perhaps because children couldn’t contribute much to society until they were older. In any event, a little boy or girl was not regarded (to quote again from Intimations) as a “Mighty prophet” and a “Seer Bless’d” “on whom those truths do rest,/Which we are toiling all our lives to find.”

That’s why I was so struck by Henry Vaughan’s “Retreat,” written in the mid-17th century–which is to say, a century ahead of its time. It’s as though the poet, reflecting upon Jesus’s words, has rethought his childhood and come to see it very differently than did his contemporaries.

Anticipating Wordsworth, Vaughan feels like he is closer to God because he has just walked “a mile or two from my first love.” (Wordsworth talks of children sporting on the shore and hearing “the mighty waters roaring evermore.”) Also, like Wordsworth, he talks of how his younger self can see a glimpse of the divine in “some gilded cloud or flower.” Encountering sin as he grows older, he observes, “Some men a forward motion love;/ But I by backward steps would move.” And also, “O, how I long to travel back/ And tread again that ancient track!”

Or as Jesus puts it, “Truly I tell you, whoever does not receive the kingdom of God as a little child will never enter it.”

Retreat

Appointed for my second race,
Or taught my soul to fancy aught
But a white, celestial thought;
When yet I had not walked above
A mile or two from my first love,
And looking back, at that short space,
Could see a glimpse of His bright face;
When on some gilded cloud or flower
My gazing soul would dwell an hour,
And in those weaker glories spy
Some shadows of eternity;
Before I taught my tongue to wound
My conscience with a sinful sound,
Or had the black art to dispense
A several sin to every sense,
But felt through all this fleshly dress
Bright shoots of everlastingness.
       O, how I long to travel back,
And tread again that ancient track!
That I might once more reach that plain
Where first I left my glorious train,
From whence th’ enlightened spirit sees
That shady city of palm trees.
But, ah! my soul with too much stay
Is drunk, and staggers in the way.
Some men a forward motion love;
But I by backward steps would move,
And when this dust falls to the urn,
In that state I came, return.

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Holding on When We Need to Let Go

Van Gogh, At Eternity’s Gate or Old Man Sorrowing

Friday

Our family lost a beautiful friend to cancer recently. When her distraught husband, who is battling his own health issues, asked us for a poem. I sent him Deborah Pope’s “Getting Through” because I know how hard he will have it for quite some time.

We don’t know how long the speaker in the poem has been mourning but it appears to have been a while. She realizes that, if she were rational, she would let go and move on. But love isn’t rational and continues to dominate her life, which leads her to concoct a series of metaphors. She is like a car that can’t get out of the loving gear, a chicken that can’t acknowledge it has lost an integral part of itself, a film that thinks it is still being projected even though it “has jumped the reel” so that one can hear the sound of it “ratcheting on.” Or, in one of the most haunting images, she’s like a phone “ringing and ringing,” unable to acknowledge that those in the house have moved away.

The images continue. Her heart goes blundering on, “a muscle spilling out/ what is no longer wanted.” The words she sends out into the void cannot be heard—she is like the last speaker of a beautiful language that now no one else can hear. Or like a train that has jumped its track and its hurtling towards a boarded-up station. The metaphors pile up, playing off each other, and my hope is that, somewhere amongst them all, our friend’s husband will experience some of the consolation that occurs when we see someone put our pain into words.

It’s much too early in his grieving to think about letting go. In fact, he probably can’t even conceive of it at the moment. That’s why the poem may speak to him.

Getting Through
By Deborah Pope

Like a car stuck in gear,
a chicken too stupid to tell
its head is gone,
or sound ratcheting on
long after the film
has jumped the reel,
or a phone
ringing and ringing
in the house they have all
moved away from,
through rooms where dust
is a deepening skin,
and the locks unneeded,
so I go on loving you,
my heart blundering on,
a muscle spilling out
what is no longer wanted,
and my words hurtling past,
like a train off its track,
toward a boarded-up station,
closed for years,
like some last speaker
of a beautiful language
no one else can hear.

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The Second Coming of Trumpism?

Artist unknown

Thursday

Never Trumper and former conservative talk show host Charlie Sykes recently applied W. B. Yeats’s “Second Coming” to his old party last week on Nicole Wallace’s MSNBC show. Returning to the poem, I realize that it’s more relevant than ever.

Yeats wrote the poem about Irish nationalists in 1919, three years after the failed Easter Uprising. As far as the moderate Yeats could see, Irish politicos were either fanatics or cynics. He sums them up in the passage cited by Sykes: “The best lack all conviction, while the worst/Are full of passionate intensity.”

The worst in our case are the white supremacists, neo-Nazis, and Trump cultists, those who fear White Replacement Theory and storm the Capitol and circulate QAnon craziness. The best—although I’m not sure they can be called best—are those Republican cynics who exploit the worst for their own electoral advantage. The best quietly get vaccinated while exhorting the worst to “resist the tyranny,” with the result that many end up in Intensive Care Units.

By filibustering raising the debt ceiling, the worst and the best are working together to make sure that the center indeed cannot hold. They are loosing “mere anarchy” upon the world (“mere” because it takes so little effort on their part to bring about disaster).

Donald Trump would like to be that rough beast, slouching toward Bethlehem for his second coming. Will Yeats’s apocalyptic fears play out. Right now it feels like it.

Here’s one silver lining: although the world looked grim when Yeats wrote the poem—in fact, the world was even in the midst of the Spanish Flu, the last worldwide pandemic—three years later Ireland achieved independence. Sometimes the darkest hour is just before the dawn.

Turning and turning in the widening gyre   
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere   
The ceremony of innocence is drowned;
The best lack all conviction, while the worst   
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.   
The Second Coming! Hardly are those words out   
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert   
A shape with lion body and the head of a man,   
A gaze blank and pitiless as the sun,   
Is moving its slow thighs, while all about it   
Reel shadows of the indignant desert birds.   
The darkness drops again; but now I know   
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,   
And what rough beast, its hour come round at last,   
Slouches towards Bethlehem to be born?

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Chekhov’s Gun and American Elections

Michiganders protesting Covid lockdown

Wednesday

Having recently read Robert Kagan’s alarming Washington Post article about the GOP’s plans to rig the next election, I find a tweet mentioning Checkhov’s loaded gun unnervingly on target. Allow me to explain.

First to Kagan’s piece. The columnist is no liberal, which gives his fears about the Republicans’ authoritarian swing particularly convincing. After all, he’s seen these people up close. In Kagan’s view, January 6 is a foretaste of what we can expect in the future. After predicting that Trump will be the 2024 Republican nominee, Kagan writes,

Trump and his Republican allies are actively preparing to ensure his victory by whatever means necessary. Trump’s charges of fraud in the 2020 election are now primarily aimed at establishing the predicate to challenge future election results that do not go his way. 

He then points out the worrisome portents:

[T]he amateurish “stop the steal” efforts of 2020 have given way to an organized nationwide campaign to ensure that Trump and his supporters will have the control over state and local election officials that they lacked in 2020. Those recalcitrant Republican state officials who effectively saved the country from calamity by refusing to falsely declare fraud or to “find” more votes for Trump are being systematically removed or hounded from office. Republican legislatures are giving themselves greater control over the election certification process. As of this spring, Republicans have proposed or passed measures in at least 16 states that would shift certain election authorities from the purview of the governor, secretary of state or other executive-branch officers to the legislature. An Arizona bill flatly states that the legislature may “revoke the secretary of state’s issuance or certification of a presidential elector’s certificate of election” by a simple majority vote. 

What sets Trumpism apart from previous U.S. political movements, Kagan says, is the fact that, for millions of Americans, “Trump himself is the response to their fears and resentments.” His followers feel that have an unbreakable bond with him.

Kagan concludes,

We are already in a constitutional crisis. The destruction of democracy might not come until November 2024, but critical steps in that direction are happening now.

Which leads me to Chekhov. Last week tweeter Jeff Sharlet shared a photo of a protester carrying an AK-47 outside the Arizona state capital and observed,

At this point, it’s unremarkable. Most of us just roll our eyes, & even as we loathe this, accept it as inevitable. We’ve normalized Chekov’s gun—the one in the 1st act—& we continue as if the next act isn’t coming.

“Chekhov’s gun” is a dramatic principle that anything irrelevant to the plot should be removed from the story. As the author once advised,

Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.

If Kagan is right, all those rightwing militants we see carrying automatic weapons are the first chapter. Those who stormed the Capitol didn’t bring their guns with them (thank you, Washington gun laws!), but maybe that’s just because we haven’t gotten to the second chapter yet. Kagan is predicting that the gun absolutely will go off.

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Only What Is Human Can Be Foreign

Jacob Lawrence, from The Migration series

Tuesday

Until Congress passes comprehensive immigration legislation, which it hasn’t done since the Ronald Reagan administration, the United States will continue to see desperate immigrants pile up on the border and unscrupulous politicians makes racist and xenophobic appeals to their base. Increasingly we’re hearing formerly mainstream Republicans repeating white supremacist talking points about white replacement while Fox’s Tucker Carlson accuses Joe Biden of importing “non-white DNA.”

For a more enlightened perspective, check out Wisława Szymborska’s“Psalm,” which Victoria Emily Jones recently shared in her excellent blog Art and Theology. “Only what is human can truly be foreign,” the poet tells us, making the point that humans excel at finding ways to divide themselves!

Psalm
By Wislawa Szymborska
Trans. Clare Cavanagh and Stanisław Barańczak

Oh, the leaky boundaries of man-made states!
How many clouds float past them with impunity;
how much desert sand shifts from one land to another;
how many mountain pebbles tumble onto foreign soil
in provocative hops!

Need I mention every single bird that flies in the face of frontiers
or alights on the roadblock at the border?
A humble robin—still, its tail resides abroad
while its beak stays home. If that weren’t enough, it won’t stop bobbing!

Among innumerable insects, I’ll single out only the ant
between the border guard’s left and right boots
blithely ignoring the questions “Where from?” and “Where to?”

Oh, to register in detail, at a glance, the chaos
prevailing on every continent!
Isn’t that a privet on the far bank
smuggling its hundred-thousandth leaf across the river?
And who but the octopus, with impudent long arms,
would disrupt the sacred bounds of territorial waters?

And how can we talk of order overall
when the very placement of the stars
leaves us doubting just what shines for whom?

Not to speak of the fog’s reprehensible drifting!
And dust blowing all over the steppes
as if they hadn’t been partitioned!
And the voices coasting on obliging airwaves,
that conspiratorial squeaking, those indecipherable mutters!

Only what is human can truly be foreign.
The rest is mixed vegetation, subversive moles, and wind.

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In Old Age, the Clarity of Early Morning

August John, An Old Lady (1898-9)

Monday

My mother turned 96 on Saturday, and among the surprises we had for her was a Czeslaw Milosz poem appearing in her very own poetry column. My mother runs From Bard to Verse for the Sewanee Messenger and had planned John Keats’s “Ode to Autumn” to welcome in the new season. Given her modesty, she would never have allowed us to run a poem honoring her, so I had to go behind her back. She was deeply moved when she saw it.

Entitling his poem “Late Ripeness,” Milosz explains that he wrote it as he was approaching his 90 year. (He died at 93.) At this stage in life, he reports, he has achieved a new clarity.

For instance, he can gaze back at, and let go of, his former lives and his former sorrows, which depart like ships. His poetic pen, like a brush, can describe his former locales better than ever before. He sees himself no longer separated from others by “Yes and No” but rather joined to them by “grief and pity.” Whatever seemed to separate them in the past is no longer there.

When he says, “We forget—I kept saying—that we are all children of the King,” he may have Christ in mind or just common humanity. In any event, he has a vision of himself working in a vineyard along with everyone else who is “living at the same time/whether they are aware of it or not.”

It’s not that our former lives are inconsequential. He acknowledges that “we used no more than a hundredth part/ of the gift we received for our long journey.” Furthermore, things we did in the past are waiting for fulfillment—will make themselves known—in the present, whether they were momentous (“a sword blow”) or small (“the paintings of eyelashes before a mirror/of polished metal”). He uses archaic images to capture how this past life seems to have happened centuries ago.

Nevertheless, the poet appears to have reached a new level of acceptance. Peace radiates throughout the poem.

Happy birthday, mama!

Late Ripeness

By Czeslaw Milosz,
Trans. Robert Haas and Czeslaw Milosz

Not soon, as late as the approach of my ninetieth year,   
I felt a door opening in me and I entered   
the clarity of early morning.   

One after another my former lives were departing,   
like ships, together with their sorrow.   

And the countries, cities, gardens, the bays of seas   
assigned to my brush came closer,   
ready now to be described better than they were before.   

I was not separated from people,   
grief and pity joined us.   
We forget—I kept saying—that we are all children of the King.   

For where we come from there is no division   
into Yes and No, into is, was, and will be.   

We were miserable, we used no more than a hundredth part   
of the gift we received for our long journey.   

Moments from yesterday and from centuries ago—   
a sword blow, the painting of eyelashes before a mirror   
of polished metal, a lethal musket shot, a caravel   
staving its hull against a reef—they dwell in us,   
waiting for a fulfillment.   

I knew, always, that I would be a worker in the vineyard,   
as are all men and women living at the same time,   
whether they are aware of it or not.   

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Stately Pines as Cathedral Towers

Ivan Shishkin, Forest (1897)

Spiritual Sunday

The lovely lyric “My Cathedral” by Henry Wadsworth Longfellow reminds me of Emily Dickinson’s “Some keep the Sabbath going to Church.” Her own church-going, she notes, has “a Bobolink for a Chorister –/And an Orchard, for a Dome –.”

Longfellow’s poem also brings to mind Harold Bloom’s observation about what he found to be the central tenet of religion in America, whether it be Southern Baptist, Pentecostal, Mormon, Roman Catholic, or mainline Protestant. According to Wikipedia,

Bloom’s view is that all of these groups in America are united by requiring that each person may only truly meet with the divine when experiencing a “total inward solitude” and that salvation cannot be achieved by engaging with a community, but only through a one-to-one confrontation with the divine.

Like Dickinson, Longfellow finds that the one-to-one confrontation occurs best in nature:

Like two cathedral towers these stately pines
  Uplift their fretted summits tipped with cones;
  The arch beneath them is not built with stones,
  Not Art but Nature traced these lovely lines,
And carved this graceful arabesque of vines;
  No organ but the wind here sighs and moans,
  No sepulchre conceals a martyr’s bones.
  No marble bishop on his tomb reclines.
Enter! the pavement, carpeted with leaves,
  Gives back a softened echo to thy tread!
  Listen! the choir is singing; all the birds,
In leafy galleries beneath the eaves,
  Are singing! listen, ere the sound be fled,
  And learn there may be worship without words.

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