Wanted: Teachers, Not Martyrs

A New York protest against premature school openings

Monday

This a follow-up to Friday’s post about how the Trump administration and various governors are more interested in schools reopening than in insuring the health of teachers and other public sector workers. I noted there that Rudyard Kipling’s “Tommy” calls out the hypocrisy of those demanding noble sacrifices from people they routinely badmouth.

Speaking of noble sacrifice, an interesting debate recently broke out in the pages of the Atlantic when a nurse essentially demanded that teachers suck it up that way that she has been sucking it up. We’re in a war situation and must behave accordingly, Kristen McConnell writes. Her words and Sarah Jones’s vehement rebuttal give me the opportunity to share a John Housman poem about shame and service, this one involving an actual war.

To give you a sense of the debate, McConnell’s article is entitled, “I’m a Nurse in New York. Teachers Should Do Their Jobs, Just Like I Did.” Here’s a passage:

In those early days, I confessed my anxieties to an acquaintance, and he asked whether I could take a medical leave of absence. I could have taken a leave, and teachers in need can too. (And parents who want their children to stay home have that option, whether through homeschooling or continued remote learning.) But I said, “No, I can’t just chump out!” Chump wasn’t the right word—at the moment, I was almost hysterical, and it was hard for me to even articulate how I felt, called upon to do something frightening and hard that I viscerally did not want to do.

The military language people used when discussing COVID-19 in the spring seemed totally appropriate, and in a way that mentality got me through the peak: This was a war, and I was a soldier. It wasn’t my choice to serve, but it was my duty; I had skills and knowledge that were needed.

To which Sarah Jones, in an article entitled “Teachers Aren’t Sacrificial Lambs. No Essential Worker Is,” replies,

To press her case, McConnell embraces what she refers to as “military language.” The pandemic is a war, she writes, and teachers and nurses share an obligation to man the front lines. But she fundamentally mischaracterizes the nature of a pandemic and thrusts teachers — and essential workers as a category — into positions they were never meant to fill. In doing so, she gives voice to a perspective that various commentators feinted toward for weeks. “Can someone explain why teachers aren’t considered essential workers?” Bloomberg columnist Joe Nocera queried Twitter — the implication being, of course, that teachers ought to report to their job sites the way nurses and Amazon warehouse workers have done for months.

But the pandemic isn’t a war. When someone takes a job, they’re selling labor for profit, not enlisting to fight a deadly battle. Amazon workers, grocery-store cashiers, and fast-food cooks have all spent months protesting against that exact characterization of their pandemic-era lives. There have been walkouts, formal strikes, rallies, and whistle-blower cases — some involving nurses, members of McConnell’s own essential profession. In fact, nurses are among the loudest voices decrying a lack of working protective gear, unsanitary conditions, and even the inadequate storage of bodies in hospitals. Some paid for their boldness with their jobs. The story of essential work during the pandemic is one of exploitation and struggle, context McConnell ignores entirely in favor of urging teachers to fall into line. She doesn’t mention a single walkout or worker death and chooses instead to cast protesting teachers as victims of fear. The American Federation of Teachers, she writes, was wrong to threaten “safety strikes” over risky reopenings. “These threats run counter to the fact that, by and large, school districts are already fine-tuning social-distancing measures and mandating mask-wearing,” she asserts, citing no evidence whatsoever for her point.

Both writers agree on one point: The Trump administration has botched the pandemic response. The question is how to respond to the mess he has created.

Housman’s short lyric helps us sort through the tangle. It is told from the perspective of young soldiers who have died in World War I:

Here dead lie we because we did not choose
To live and shame the land from which we sprung.
Life, to be sure, is nothing much to lose,
but young men think it is, and we were young.

The soldiers fought not out of idealism but because they were ashamed not to. Their seeming stoic acceptance of death—“Life, to be sure, is nothing much to lose”—is contradicted by the searing understatement of the final line: “but young men think it is, and we were young.”

Translated, they’re saying, “We’re really, really upset that shame drove us into a situation where we would lose something as precious as our lives. Shame also prevents us from acknowledging our upset openly—after all, we’re supposed to care more about country than our lives—but we feel the loss deeply.” Unspoken but implied here is a sense of enormous waste, such as is articulated in a poem like Wilfred Owen’s “Strange Meeting”:

“Strange friend,” I said, “here is no cause to mourn.”
“None,” said the other, “save the undone years,
The hopelessness. Whatever hope is yours,
Was my life also; I went hunting wild
After the wildest beauty in the world,
Which lies not calm in eyes, or braided hair,
But mocks the steady running of the hour,
And if it grieves, grieves richlier than here.
For by my glee might many men have laughed,
And of my weeping something had been left,
Which must die now. I mean the truth untold,
The pity of war, the pity war distilled.

I am grateful beyond measure when health care professionals like McConnell step up and care for those who are sick. Yet several times during this pandemic I have recalled Bertolt Brecht’s passage from Galileo: “Unhappy is the land that needs heroes.” If the White House is calling upon nurses, teachers, and other essential workers to enter the fray like so many members of Tennyson’s Light Brigade, then the sacrificial lambs shouldn’t be fighting amongst themselves. All our ire should be directed toward those who, to use Tennyson’s word, have “blundered.”

Many teachers already have inclinations towards self-sacrifice—evidence ranges from spending personal funds on school supplies to sacrificing themselves when killers enter schools—which is why McConnell’s attempt to shame is pernicious. It’s taking advantage of the heightened sense of social responsibility that leads people to become teachers in the first place. Tim O’Brien in The Things They Carried shows the power of shame in The Things They Carried, and while it applies more to Housman’s soldiers than to educators, it’s useful in highlighting the voices we carry in our heads. In the episode, the narrator explains why, at the last moment, he chose not to escape to Canada to dodge the Vietnam draft:

I did try. It just wasn’t possible.

All those eyes on me—the town, the whole universe—and I couldn’t risk the embarrassment. It was as if there were an audience to my life, that swirl of faces along the river, and in my head I could hear people screaming at me. Traitor! they yelled. Turncoat! Pussy! I felt myself blush. I couldn’t tolerate it. I couldn’t endure the mockery, or the disgrace, or the patriotic ridicule. Even in my imagination, the shore just twenty yards away, I couldn’t make myself me brave. It had nothing to do with morality. Embarrassment, that’s all it was.

With teachers, it’s less embarrassment than a conviction that everything must be sacrificed for their students. The prospect of martyrdom can make one feel noble, just as it did for many of the young men who fought and died in World War I.

I’m thinking, for instance, of Rupert Brooke, who told us not to make too much of his death:

If I should die, think only this of me:
  That there’s some corner of a foreign field
That is forever England. 

And of Alan Seeger, who romantically embraced death:

I have a rendezvous with Death
At some disputed barricade,
When Spring comes back with rustling shade
And apple-blossoms fill the air—

And in the final line:

And I to my pledged word am true,
I shall not fail that rendezvous.

While some have lionized these two for their sacrifice, their deaths now seem (as they seem to Wilfred Owen) as meaningless and absurd.

Which is how the deaths of teachers and others in the school system will appear if we send them, unprepared and unprotected, into the teeth of the pandemic. America’s 160,000+ deaths already seem an intolerable waste. If we had done what other countries have done, tens of thousands of these individuals would still be alive.

Fortunately, teachers have access to other perspectives, as young men in 1914 did not. Not only to they have a clear view of administrative blundering, but they know that they will be risking, in addition to their own lives, the lives of students, school bus drivers, cafeteria workers, housekeeping staff, their own families, and the families of all these others. To charge into unsafe conditions when other options exist–such as waiting for the governing bodies to bring down infection rates–is not heroic but reckless. In fact, returning to school before it is safe takes pressure off the White House and GOP governors to get their act together.

One’s life is a lot to lose. To be shamed into risking it—well, shame on the shamers.

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Abandon the Shoes That Brought You Here

Ivan Konstantinovich Aivazovsky, Jesus Walking upon the Water

Spiritual Sunday

My good friend Sue Schmidt, who regularly contributes spiritual posts to this blog, alerted me to David Whyte’s poem “Finisterre” in anticipation of today’s Gospel reading about Jesus walking on the Sea of Galilee. For Whyte, the episode represents Jesus treading uncharted paths. You “abandon the shoes that had brought you here right at the water’s edge,” he writes,

                     not because you had given up
but because now, you would find a different way to tread,
and because, through it all, part of you would still walk on,
no matter how, over the waves.

Here’s the passage from Matthew (14:22-27):

Jesus made the disciples get into the boat and go on ahead to the other side, while he dismissed the crowds. And after he had dismissed the crowds, he went up the mountain by himself to pray. When evening came, he was there alone, but by this time the boat, battered by the waves, was far from the land, for the wind was against them. And early in the morning he came walking toward them on the sea. But when the disciples saw him walking on the sea, they were terrified, saying, “It is a ghost!” And they cried out in fear. But immediately Jesus spoke to them and said, “Take heart, it is I; do not be afraid.”

The Jesus in Whyte’s poem is following his shadow, “going where shadows go.” Because what we call life won’t let Jesus accomplish his mission’’—”no way to your future now but the way your shadow could take”—he follows the sun into the dark, emptying his bags and crossing over where the ground turns to ocean. Or as Mary Oliver describes it “In Blackwater Woods,” he will be traversing

the black river of loss
whose other side

is salvation,
whose meaning
none of us will ever know.

As I interpret the frayed letters mentioned in the poem, they are the scriptures, which have gotten Jesus this far but which he can now release (or set fire to), letting them drift ahead of him “on the western light.” God’s plan, after all, has been realized in Jesus’s ministry—“Today the scripture has been fulfilled”–as Jesus takes the path “the sun had taken.”

According to Wikipedia, Finisterre is a peninsula on the west coast of Galicia, Spain that in Roman times “was believed to be the end of the known world.” It derives from finis terrae, meaning “end of the earth,” which makes it a perfect title for this poem. 

The road in the end taking the path the sun had taken,
into the western sea, and the moon rising behind you
as you stood where ground turned to ocean: no way
to your future now but the way your shadow could take,
walking before you across water, going where shadows go,
no way to make sense of a world that wouldn’t let you pass
except to call an end to the way you had come,
to take out each frayed letter you had brought
and light their illumined corners; and to read
them as they drifted on the western light;
to empty your bags; to sort this and to leave that;
to promise what you needed to promise all along,
and to abandon the shoes that had brought you here
right at the water’s edge, not because you had given up
but because now, you would find a different way to tread,
and because, through it all, part of you would still walk on,
no matter how, over the waves.

In my conversation with Sue, I mentioned that Lucille Clifton also refers to the Biblical passage in her poem “questions and answers.” Frequently asked about her confidence–how she is able to stand so firmly—she herself isn’t sure. After all, like shallowly rooted cacti in a desert, she doesn’t have much to support her, being a black woman in America and a former victim of parental child abuse. She concludes that the process is like Jesus taking his first step upon the water:

what must it be like
to stand so firm, so sure?


in the desert even the saguro
hold on as long as they can


twisting their arms in
protest or celebration.


you are like me,
understanding the surprise


of jesus, his rough feet
planted on the water

the water lapping
his toes and holding them.

you are like me, like him
perhaps, certain only that

the surest failure
is the unattempted walk.

Clifton’s poem is less metaphysical than Whyte’s since the walk he refers to is into the realm of death, not just the realm of uncertainty. Nevertheless, the miraculous is involved in each of the two journeys. For both Jesus and Lucille, there is “no way to make sense of a world that wouldn’t let you pass/ except to call an end to the way you had come.”

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Memo to Teachers: Put Lives on Line

A high school in Dallas Georgia, Aug. 4, 2020, masks optional (The student who took the photo was suspended for reflecting poorly on the school.)

Friday

So Donald “it is what it is” Trump and his sycophantic governors want students, teachers  and support staff to return to school so that all will appear “back to normal” and the president will be reelected. Meanwhile, they are doing little to ensure that people will be safe.

Let’s put Education Secretary Betsy DeVos into this conversation since she is proving as derelict as Trump in preparing for a safe reentry. Her plan, as far as I can tell, is for school personnel to be heroes and put their lives on the line. This from a woman who regularly denigrates teachers, teacher unions, and the public school system in general. She deserves the anger that pours forth from Rudyard Kipling’s “Tommy.”

Kipling’s speaker notes that the soldier is regularly maligned until “the guns begin to shoot.” Then everything changes and he becomes “Savior of ’is country.” The resentment is so thick you can cut it with a knife:

I went into a public-‘ouse to get a pint o’ beer,
The publican ‘e up an’ sez, “We serve no red-coats here.”
The girls be’ind the bar they laughed an’ giggled fit to die,
I outs into the street again an’ to myself sez I:
    O it’s Tommy this, an’ Tommy that, an’ “Tommy, go away”;
    But it’s “Thank you, Mister Atkins”, when the band begins to play,
    The band begins to play, my boys, the band begins to play,
    O it’s “Thank you, Mister Atkins”, when the band begins to play.

I went into a theatre as sober as could be,
They gave a drunk civilian room, but ‘adn’t none for me;
They sent me to the gallery or round the music-‘alls,
But when it comes to fightin’, Lord! they’ll shove me in the stalls!
    For it’s Tommy this, an’ Tommy that, an’ “Tommy, wait outside”;
    But it’s “Special train for Atkins” when the trooper’s on the tide,
    The troopship’s on the tide, my boys, the troopship’s on the tide,
    O it’s “Special train for Atkins” when the trooper’s on the tide.

Yes, makin’ mock o’ uniforms that guard you while you sleep
Is cheaper than them uniforms, an’ they’re starvation cheap;
An’ hustlin’ drunken soldiers when they’re goin’ large a bit
Is five times better business than paradin’ in full kit.
    Then it’s Tommy this, an’ Tommy that, an’ “Tommy, ‘ow’s yer soul?”
    But it’s “Thin red line of ‘eroes” when the drums begin to roll,
    The drums begin to roll, my boys, the drums begin to roll,
    O it’s “Thin red line of ‘eroes” when the drums begin to roll.

We aren’t no thin red ‘eroes, nor we aren’t no blackguards too,
But single men in barricks, most remarkable like you;
An’ if sometimes our conduck isn’t all your fancy paints,
Why, single men in barricks don’t grow into plaster saints;
    While it’s Tommy this, an’ Tommy that, an’ “Tommy, fall be’ind”,
    But it’s “Please to walk in front, sir”, when there’s trouble in the wind,
    There’s trouble in the wind, my boys, there’s trouble in the wind,
    O it’s “Please to walk in front, sir”, when there’s trouble in the wind.

You talk o’ better food for us, an’ schools, an’ fires, an’ all:
We’ll wait for extry rations if you treat us rational.
Don’t mess about the cook-room slops, but prove it to our face
The Widow’s Uniform is not the soldier-man’s disgrace.
    For it’s Tommy this, an’ Tommy that, an’ “Chuck him out, the brute!”
    But it’s “Savior of ‘is country” when the guns begin to shoot;
    An’ it’s Tommy this, an’ Tommy that, an’ anything you please;
    An’ Tommy ain’t a bloomin’ fool — you bet that Tommy sees!

Teachers, like health care workers, essential service workers, and so many others aren’t asking for special favors. Many are not even asking for hazard pay, although there are provisions for such pay in the Democrat’s “HEROES Act.” They’ll “wait for extry rations if you treat us rational.” But politicians who pretend that schools can reopen without incident are treating them instead as though they are expendable cogs and Trump’s reelection effort.

The poem ends with a warning: “An’ Tommy ain’t a bloomin’ fool—you bet that Tommy sees!” Hopefully our Tommys will hold Trump and his enablers accountable come November 3.

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Fear No More the Heat o’ the Sun

George Dawe, Imogen Discovered in the Cave of Belarius

Thursday

In this season of death, death has hit close to home, although this one was not Covid-caused. William Boyd, a St. Mary’s College of Maryland student who lived with us for six years, helping us bring up our children and journeying with us to Yugoslavia/Slovenia for my two Fulbrights, unexpectedly passed away from kidney failure and diabetes. He was 55.

For Julia and me, William was our fourth son. For Justin, Darien and Toby, he was their older brother. For Yugoslavia/Slovenia, William was an electrifying gospel singer who sang in Zagreb’s and Sarajevo’s major concert halls in 1988 and in various Slovenian public venues in 1995. For New Elizabeth Baptist Church, William was the charismatic pastor who touched lives in his impoverished Baltimore community, reaching out to those in pain and helping them find a way forward.

I feel so, so tired, as I did when I lost Justin 20 years ago. That’s probably why this song from Shakespeare’s Cymbeline comes to mind. I send it out to William as a kind of lullaby:

Fear no more the heat o’ the sun,
Nor the furious winter’s rages;
Thou thy worldly task hast done,
Home art gone, and ta’en thy wages:
Golden lads and girls all must,
As chimney-sweepers, come to dust.

Fear no more the frown o’ the great;
Thou art past the tyrant’s stroke;
Care no more to clothe and eat;
To thee the reed is as the oak:
The scepter, learning, physic, must
All follow this, and come to dust.

Fear no more the lightning flash,
Nor the all-dreaded thunder stone;
Fear not slander, censure rash;
Thou hast finished joy and moan:
All lovers young, all lovers must
Consign to thee, and come to dust.

No exorciser harm thee!
Nor no witchcraft charm thee!
Ghost unlaid forbear thee!
Nothing ill come near thee!
Quiet consummation have;
And renownèd be thy grave!

Or as Horatio says so movingly to his closest friend,

And flights of angels sing thee to thy rest.
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Pratchett Responds to Racist Politics

Wednesday

Barack Obama’s uplifting oration at John Lewis’s funeral was still ringing in my ears when I came across a similar celebration of inclusion and diversity in a Terry Pratchett novel. I’m currently working my way through Pratchett’s 60 or so fantasy novels, which stand in stark contrast to Tolkien’s Lord of the Rings. Not only are they humorous (Tolkien, by contrast, is deadly serious), but they don’t have the same kind of species bias. Tolkien divides his world into good species (hobbits, elves, dwarves, Ents and humans) and bad species (goblins, orcs, trolls, and humans) while Pratchett embraces everyone.

Pratchett also doesn’t share Tolkien’s class bias. Whereas Tolkien associates the bad species with the industrial working class and the good species with upper-class patricians, the artisanal middle class, and self-employed agricultural workers, Pratchett finds good and bad in all species. Their challenge is getting along with each other, which isn’t easy since troll culture, dwarf culture, golem culture, werewolf culture, zombie culture, vampire culture, goblin culture, wee people culture, and human culture often vary widely. If Tolkien’s fiction is a modernist longing for a rural past, Pratchett’s is a post-modernist embrace of chaotic urban life.

Take the following scene from Feet of Clay, for instance, where Inspector Vimes, head of the Night Watch, has just encountered a racist factory owner who has been exploiting golems. Unlike  many of America’s police forces, his first response is to diversify:

“Who’s that man who owns that place?”
“That’s Mr. Catterail, sir. You know, he’s always writing you letters about there being too many what he calls ‘less races’ in the Watch. You know…trolls and dwarfs…” The sergeant had to trot to keep up with Vimes.
“Get some zombies,” he said.
“You’ve always been dead against zombies, excuse my pun,” said Sergeant Colon.
“Any want to join, are there?”
“Oh, yessir. Couple of good lads, sir, and but for the gray skin hangin’ off ‘em you’d swear they hadn’t been buried five minutes.”
“Swear them in tomorrow.”
“Right, sir. Good idea. And of course it’s a great saving not having to include them in the pension plan.”

Feet of Clay also features a scenario that gets at the heart of our current political dilemma, which is that only the Democrats seriously care about responsible governance. In the novel, the ruthless but effective patrician Vetinari appears to be dying, and the various guilds are imagining a successor. Like the GOP, however, they are flummoxed by the prospect of having to “negotiate and juggle with all the conflicting interests.” It’s much easier to complain about those who are running things.

The passage applies as well to how the GOP has come to take for granted the Pax Americana (if that’s what the past 75 years can be called) while feeling free to snipe at the various entities that comprise it. If the United States abdicates its leadership role, then China will only be too happy to take over. Think of the Patrician as a responsible American president in the following passage, which also contains a strong case against limiting immigration:

Who’d be Patrician now? Once there’d have been a huge multi-sided struggle, but now!…

You got the power, but you got the problems, too. Things had changed. These days, you had to negotiate and juggle with all the conflicting interests. No one sane had tried to kill Vetinari for years, because the world with him in it was just preferable to one without him…

[Vetinari had] taken all the gangs and squabbling groups and made them see that a small slice of the cake on a regular basis was better by far than a bigger slide with a dagger in it. He’d made them see that it was better to take a small slice but enlarge the cake.

Ankh-Morpork, alone of all the cities of the plains, had opened its gates to dwarfs and trolls (alloys are stronger, as Vetinari had said). It had worked. They made things. Often they made trouble, but mostly they made wealth. As a result, although Ankh-Morpork still had many enemies, those enemies had to finance their armies with borrowed money. Most of it was borrowed from Ankh-Morpork, at punitive interest. There hadn’t been any really big wars for years. Ankh-Morpork had made them unprofitable.

Thousands of years ago the old empire had enforced the Pax Morporkia, which had said to the world: “Do not fight, or we will kill you.” The pax had arisen again, but this time it said: “If you fight we’ll call in your mortgages. And incidentally, that’s my pike you’re pointing at me. I paid for that shield you’re holding. And take my helmet off when you speak to me, you horrible little debtor.”

And now the whole machine, which whirred away so quietly that people had forgotten it was a machine at all and thought that it was just the way the world worked, had given a lurch.

The guild leaders examined their thoughts and decided that what they did not want was power. What they wanted was that tomorrow should be pretty much like today.

A lot of Americans would like America to be like what it was four years ago.

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To Memorialize, Turn to Poetry

Activist James Lawson

Tuesday

Poetry steps up when other language falls short, which is why we often encounter it at funerals. Activist James Lawson, John Lewis’s mentor, particularly caught my attention when he read a Czeslaw Milosz poem last week. It helped me understand why Lawson is one of the greatest trainers of social activists in American history.

Let me first mention the other poems. I heard two passages from Shakespeare (one quoted twice); Lewis’s favorite poem “Invictus” (which I reflected upon recently); and Langston Hughes’s “I Dream a World,” which inspired Martin Luther King’s “I Have a Dream” speech.

George W. Bush was one of two borrowing from Horatio’s farewell to Hamlet:

And flights of angels sing thee to thy rest!

Unlike Hamlet, however, Lewis died in peace, believing in his fellow citizens and content to pass the torch to the next generation. He responded to the rottenness in the state with unflinching love. In any event, it’s a lovely farewell.

Ebenezer Baptist Church pastor Raphael Gamaliel Warnock turned to Juliet’s awe and wonder at her love for Romeo to capture his own reverence for Lewis:

…and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.

If we see the “garish sun” as established authorities, then it seems right to celebrate this advocate for “good trouble” as a figure of the night.

I can’t remember who read “I Dream a World,” but it was appropriate for a man who, as Barack Obama put it, often believed in us more than we believed in ourselves:

I dream a world where man
No other man will scorn,
Where love will bless the earth
And peace its paths adorn
I dream a world where all
Will know sweet freedom's way,
Where greed no longer saps the soul
Nor avarice blights our day.
A world I dream where black or white,
Whatever race you be,
Will share the bounties of the earth
And every man is free,
Where wretchedness will hang its head
And joy, like a pearl,
Attends the needs of all mankind-
Of such I dream, my world!

But back to Lawson, who read both “Invictus” and Milosz’s “Meaning.” As he read the first poem, Lawson may have remembered the “bludgeonings” he himself endured and witnessed, while always advocating a non-violent response (“My head is bloody and unbowed”).

“Meaning” is considerably more complex:

When I die, I will see the lining of the world.
The other side, beyond bird, mountain, sunset.
The true meaning, ready to be decoded
What never added up will add Up,
What was incomprehensible will be comprehended
--And if there is no lining to the world?
If a thrush on a branch is not a sign,
But just a thrush on the branch? If night and day
Make no sense following each other?
And on this earth there is nothing except this earth?
--Even if that is so, there will remain
A word wakened by lips that perish,
A tireless messenger who runs and runs
Through interstellar fields, through the revolving galaxies,
And calls out, protests, screams.

First, this is a great poem to read at the funeral of a lifelong warrior for justice. Through the first five lines, it’s as though Lewis finds life’s work confirmed with his death, which is how many many witnessing the funeral saw it.

Milosz, however, is famous for never allowing assertions to go unquestioned, including his own. His Nobel acceptance speech is a masterclass in simultaneously declaring truths and challenging them. In this poem, he switches from confidence the world has transcendent meaning to the possibility it does not. Lewis, like Martin Luther King, might have believed the arc of history bends towards justice—their struggle occurred within the context of that faith—but what if it doesn’t? What if “on this earth there is nothing except this earth?”

Lawson knows that, whatever confidence social activists exude in public, privately they have their moments of doubt. He undoubtedly saw such doubts up close countless times. Milosz’s lesson for social activists is that they may be able to do no more than call out, protest, scream with their perishable lips. The downward trajectory from calling out to screaming suggests that the intended audiences are not listening.

People like Lewis—and for that matter, poets—are like the “tireless messenger who runs and runs/ Through interstellar fields, through the revolving galaxies.” Maybe no “true meaning” exists, and yet the poem somehow endows such activity with cosmic significance. Through human striving, meaning is made.

Love may be an essential part of the lining of the world, as John Lewis professed, or it may not. What’s important is that, when all is said and done, Lewis tirelessly called out the word with lips that have now perished. In doing so, he awakened others and changed history.

Further thought: Milosz’s vision of a messenger who “calls out, protests, screams” brings to mind a famous passage from In Memoriam where Tennyson grapples with whether a higher meaning exists within the universe. Although he will come around to a more positive vision, at this stage Tennyson is racked with doubt:

Oh, yet we trust that somehow good
         Will be the final end of ill,
         To pangs of nature, sins of will,
Defects of doubt, and taints of blood;

That nothing walks with aimless feet;
         That not one life shall be destroy'd,
         Or cast as rubbish to the void,
When God hath made the pile complete;

That not a worm is cloven in vain;
         That not a moth with vain desire
         Is shrivell'd in a fruitless fire,
Or but subserves another's gain.

Behold, we know not anything;
         I can but trust that good shall fall
         At last—far off—at last, to all,
And every winter change to spring.

So runs my dream: but what am I?
         An infant crying in the night:
         An infant crying for the light:
And with no language but a cry.
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Hang Together or Go Under

Turner, “The Shipwreck” (1805)

Monday

A few months ago Editorial Page’s John Stoehr alerted me to a powerful James Baldwin warning from his prose poem essay Nothing Personal. As our country passes the 150,000 mark for Covid deaths and as the bottom drops out of the economy, it’s vital that we hold on to each other. Otherwise, “the sea engulfs us and the light goes out.”

Baldwin wrote these words in 1964, when we had a similar sense that “nothing is fixed” and that “the earth is always shifting.” Yet many of us believed then—at least those of us who were white—that America’s basic safeguards would hold. We had confidence that the rule of law, the electoral system, and the U.S. Constitution’s system of checks and balances were fixed and immutable.

Baldwin is not so sure. In the face of uncertainty, however, he reminds us of two important things: we are responsible to future generations (“we are the only witnesses they have”) and it is vital to keep faith with each other. Our children and our children’s children must not lose the dream of a just and egalitarian society. They must not become inured to autocracy.

When Baldwin warns against “break[ing] faith with one another,” think of him referring to the Declaration of Independence, to America’s vision of e pluribus unum, and to the Statue of Liberty’s welcoming light.

To be sure, fighting against a sea that “does not cease to grind down rock” is a daunting challenge. People of color know better than anyone how the forces of racism and oppression never let up. But even while acknowledging the harsh reality, Baldwin points to how we must respond: lovers must cling to lovers and parents and children must cling to each other. Without that, we are lost for sure.

I know we often lose, and that the death or destruction of another is infinitely more real and unbearable than one’s own. I think I know how many times one has to start again, and how often one feels that one cannot start again. And yet, on pain of death, one can never remain where one is. The light. The light. One will perish without the light.

I have slept on rooftops and in basements and subways, have been cold and hungry all my life; have felt that no fire would ever warm me, and no arms would ever hold me. I have been, as the song says, “buked and scorned” and I know that I always will be. But, my God, in that darkness, which was the lot of my ancestors and my own state, what a mighty fire burned! In that darkness of rape and degradation, that fine flying froth and mist of blood, through all that terror and in all that helplessness, a living soul moved and refused to die. We really emptied oceans with a home-made spoon and tore down mountains with our hands….

It is a mighty heritage, it is the human heritage, and it is all there is to trust. And I learned this through descending, as it were, into the eyes of my father and my mother. I wondered, when I was little, how they bore it–for I knew that they had much to bear. It had not yet occurred to me that I also would have much to bear; but they knew it, and the unimaginable rigors of their journey helped them to prepare me for mine. This is why one must say Yes to life and embrace it wherever it is found–and it is found in terrible places; nevertheless, there it is; and if the father can say, Yes. Lord. the child can learn that most difficult of words, Amen.

For nothing is fixed, forever and forever and forever, it is not fixed; the earth is always shifting, the light is always changing, the sea does not cease to grind down rock. Generations do not cease to be born, and we are responsible to them because we are the only witnesses they have.

The sea rises, the light fails, lovers cling to each other, and children cling to us. The moment we cease to hold each other, the moment we break faith with one another, the sea engulfs us and the light goes out.

Further thought: Baldwin may well be alluding to Matthew Arnold’s “Dover Beach,” even though Arnold’s ocean is moving in the other direction. Arnold laments that the tide (of faith) is receding, not coming in, thereby leaving us “on a darkling plain/ Swept with confused alarms of struggle and flight, /Where ignorant armies clash by night.” Nevertheless, the prescription is the same: “Ah, love, let us be true to one another!”

With that in mind, the wide support for Black Lives Matter—much broader, more multicultural, and more egalitarian than that enjoyed by Black activism in the 1960s—is reason to hope. To be sure, Trump is more reckless than Richard Nixon while today’s GOP is more supine than it was then, but this means that holding each other is essential.

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In the Desert Darkness One Has Found Me

Leon Bonnat, Jacob Wrestling with the Angel

Spiritual Sunday

Poets have been drawn to today’s Old Testament reading where Jacob wrestles with the angel, in large part because they can read it as a complex inner struggle. Malcolm Guite imagines Jacob as a troubled soul in one of his sublime sonnets.

First, here’s the story:

The same night Jacob got up and took his two wives, his two maids, and his eleven children, and crossed the ford of the Jabbok. He took them and sent them across the stream, and likewise everything that he had. Jacob was left alone; and a man wrestled with him until daybreak. When the man saw that he did not prevail against Jacob, he struck him on the hip socket; and Jacob’s hip was put out of joint as he wrestled with him. Then he said, “Let me go, for the day is breaking.” But Jacob said, “I will not let you go, unless you bless me.” So he said to him, “What is your name?” And he said, “Jacob.” Then the man said, “You shall no longer be called Jacob, but Israel, for you have striven with God and with humans, and have prevailed.” Then Jacob asked him, “Please tell me your name.” But he said, “Why is it that you ask my name?” And there he blessed him. So Jacob called the place Peniel, saying, “For I have seen God face to face, and yet my life is preserved.” The sun rose upon him as he passed Penuel, limping because of his hip. (Genesis 32:22-31)

Guite mentions Jacob sending his family on ahead, which means he is alone and stripped of his daily identity markers. Driven inward, he feels guilty about having betrayed his brother, whom he is scheduled to meet the following day. In this desert darkness, God finds him.

God’s love simultaneously wounds and heals. When we wrestle forthrightly and passionately with our darkness, we lose a part of ourselves but are compensated beyond all imagining. Daybreak stakes its claim as God provides a new name for us.

That God’s love wounds as well as heals reminds me of the paradox that John Donne famously describes in his sonnet “Batter My Heart, Three-Personed God”:

Divorce me, untie or break that knot again,
Take me to you, imprison me, for I,
Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.

Spiritual struggle is not for wimps. Everything is at stake but, in the end, the angel blesses us.

Previous posts on Jacob and the Angel
Rainer Maria Rilke: The Eternal Doesn’t Want to Be Bent by Us
Gerard Manley Hopkins: Wrestling with (My God!) My God

Parable and Paradox

I dare not face my brother in the morning,
I dare not look upon the things I’ve done,
Dare not ignore a nightmare’s dreadful warning,
Dare not endure the rising of the sun.
My family, my goods, are sent before me,
I cannot sleep on this strange river shore,
I have betrayed the son of one who bore me,
And my own soul rejects me to the core.
 
But in the desert darkness one has found me,
Embracing me, He will not let me go,
Nor will I let Him go, whose arms surround me,
Until he tells me all I need to know,
And blesses me where daybreak stakes its claim,
With love that wounds and heals; and with His name.
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Vote for the Best Lizard

Friday

My brother David just reminded me of the following Douglas Adams passage (from So Long, and Thanks for All the Fish), which is always relevant but never more so than now as U.S. Covid deaths pass the 150,000 mark, the result of wretched governance. For those who think of politicians as lizards, then it’s important to also acknowledge that not all lizards are the same:

[Ford said], “On its world, the people are people. The leaders are lizards. The people hate the lizards and the lizards rule the people.”

“Odd,” said Arthur. “I thought you said it was a democracy.”

“I did,” said Ford. “It is.”

“So,” said Arthur, hoping he wasn’t sounding ridiculously obtuse, “why don’t the people get rid of the lizards?”

“It honestly doesn’t occur to them,” said Ford. “They’ve all got the vote, so they all pretty much assume that the government they voted in more or less approximates to the government they want.”

“You mean they actually vote for the lizards?”

“Oh yes,” said Ford with a shrug, “of course.”

“But,” said Arthur, going in for the big one again, “why?”

“Because if they didn’t vote for a lizard,” said Ford, “the wrong lizard might get in.”

If, in 2016, more people had worried about the wrong lizard getting in, then Hillary Clinton would currently be orchestrating America’s response to the pandemic, tens of thousands Covid victims would still be alive, and schools would probably be opening on time. The wrong lizard could get in again if people don’t turn out and vote for Joe Biden.

This is no time for purity tests. The lizard we vote in will make all the difference.

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