Being a Man Improved God

Spiritual Sunday – Father’s Day

African American poet Thylias Moss has this wonderful poem about how God improved after he had, and became, a son. Moss would agree with those theologians who see the God as a character who evolves in the course of the Bible.

Another way of putting this is that humankind’s understanding of God has evolved over time, with the Bible reflecting those changes. God may not have changed, but we have.

In any event, Moss has written a compelling poem, capturing us in all our vulnerable humanity and our transcendent longing. I particularly like the moment when, by entering Mary’s womb, God becomes more feminine. And how, by going through the evolutionary stages (ontogeny recapitulating phylogeny, as the biologists put it), he chooses to come out human, with all that this entails.

A Man

How handsome he was, that man who did not court
the girls fawning all over him as if he’s already saved them,
it’s my leg, one said, raising her hem as she’d raised it 
     in dreams
he knew of, for everything reached him as prayer, my leg, Sir,
is not perfect although as he looked, it glistened and the blood
became more productive. He did not date, nor rendezvous 
     in tunnels and tents,
did not kiss except to heal, did not harass, malign 
     nor mutilate;
threw no stones

         and he was a man; never forget that he was a man,

that being a man improved him. Before the mothering. He was 
     a solo act
ramming omnipotence down the throats of Ramses, Job, all 
     the sinning nobodies
of Sodom. He was feared before he was born a triplet 
     of flesh completing
the one vaporous, the other heavy and strict; now he’s 
     desirable, vulnerable;
in the mother he visited stages of: fig, fish, pig, chicken, 
     chimp before settling irrevocably
on a form more able to strive. This was a more significant 
     time in darkness,
gestation of forty weeks, than three days in a hillside morgue; 
     he learned maternal heartbeat
and circulation of her blood so well they became dependency,
and so he learned that some radiance is not his, hers

came in large part just from being Mary—how content she was 
     even before pregnancy,
betrothed, blushing to ripen the fields; content even before she 
     knew of angels,
and now, with this mound of baby, she was parent of a world 
     whose prospering
she encouraged, activity of fish, magma, sulfur, the earth 
     striving 
                      just as she did.

He was a man
                             yet the usher of miracles, preaching 
     on a mountain
where reverberation gave him the power of five thousand 
     tongues, yet not
a big man, not athletic, ordinary looking except for that glow 
     and doves circling
him in the desert, doves that had been vultures earning their
      transfiguration
by consuming decaying meat just as he ate all the sin; for that 
     flattery, he bid them dip their
feathers in his eye, drawing into them that sweet milk around 
     the iris.

He was a man
                             when he began to understand love, 
     erasing the lines between
Gentile, Jew, and invited any who wanted to come to his father’s 
     house for bottomless milk,
honey, ripe fruit, baskets of warm bread and eggs, wine, 
     live angels singing. Weary revelers
could lay their heads on his breast, he said, needing intimacy; he 
     thinks
as a man, therefore

                               he is a man
and good times, memories can be
adequate heaven. He knows the distance a man
is from his father, how likely it increases till the deathbed; 
     he knows
what a man knows

the now and here, and can be called by name,
and can be wounded, and must struggle, and must be proud
every now and then or could not continue, must be worth 
     something,
must be precious to himself and preferably to at least one other, 
     must be,
in these thousands of post-Neanderthal years, improving, 
     must have
more potential, becoming not only more like God, but more like
what God needs to become, so moves also,
so God moves also

                    because a man moves.
Posted in Uncategorized | Tagged , | Comments closed

Juneteenth & Freedom’s Challenges

Arthello Beck, Juneteenth Picnic

Friday – Juneteenth

I came across this poem by poet Sojourner Kincaid Rolle commemorating Juneteenth, the moment (June 19, 1865) when union troops under General Gordon Granger made Lincoln’s Emancipation Proclamation a reality in Texas. Juneteenth received new attention when Donald Trump announced plans to launch his 2020 presidential campaign on that day—and to do so, furthermore, in a city which, 99 years ago this month, suffered the worst massacre of African Americans in American history. All this, of course, occurs at a time when the country is reeling from massive gatherings protesting George Floyd’s death and other acts of police brutality.

Slaveowners had, of course, ignored Lincoln’s proclamation, even after Confederate General Edmund Kirby-Smith officially surrendered in Galveston. Only with the arrival of General Granger could slaves shout, “Free at last, hallelujah, I’m free.”

[Side note: I name the Confederate general because his descendants were a significant part of my life growing up in Sewanee, Tennessee. The general came to the newly founded University of the South as a math professor, and I had two Kirby-Smiths as doctors, one as my seventh grade English teacher, and a couple as childhood friends. Although the Civil War was a hundred years in the past, it felt to me as though the passions that had triggered it were still alive and well, which is one reason I fled to a northern college. In 2017, incidentally, Sewanee quietly renamed the Kirby-Smith monument, which sits in the middle of the town, and moved the plaque of the general to the cemetery.]

In her poem, Rolle lays out the different responses of the freed slaves to their new freedom. She makes it clear that freedom is hard.

It’s always good to remember this.

Free at Last – a Poem for Juneteenth

General Granger brought the news to Galveston: 
“The war is over!
The Emancipation Proclamation has declared,
‘All who live in bondage here shall be free.’”

Every year in the land of the Lone Star State,
resounding from sea to sea,
the sons and daughters of those who were held
shout, “Free at last, hallelujah, I’m free.”

Leaving their shackles where they fell on the ground
after 300 years of forced bondage; hands bound,
descendants of Africa picked up their souls,
departed for the nearest resting place.

Some went no further than the shack out back,
hard ground for a bed, hard labor to stay alive.
Them that stayed said, “This is my home,
even though I can’t really call it my own.”

Some went to the nearest place of worship,
perhaps to a clearing in the grove
or some hollow place in the underbrush.
Said, “Jesus, thank you for delivering me.”

Some ran as fast as they could
into the service of another man,
working for a meager pittance
one backbend short of being a slave hand.

Some went to the closest speakeasy,
toasted the Union and Lady Luck,
patted each other on their whip-marked backs,
drank themselves into oblivion.

Some swam the way of the river
following the Rio Grande or the up-flowing Mississip,
hastening to get as far away as they could,
thrusting their futures into unknown sanctuary.

Some went straight to the promise land,
heart couldn’t take this earthly joy no more.
Some kept running forever,
like a stone unable to grasp the firmity.

No matter where they went
they said, “I am where my soul wants to be.
I will always remember; I will never forget
Now I can shout, ‘Hallelujah, I’m free.’”
Posted in Uncategorized | Tagged , , , , | Comments closed

Black Lives, Durable as Daisies

Thursday

Paris Review has just published a newly-discovered Lucille Clifton poem that the country needs right now given continuing police and vigilante killings of African Americans. I can’t find the lyric in her Collected Poems so I don’t know how the editors chanced upon it. I’m thinking it was written in the 1990s since it mentions the deaths of Clifton’s husband and parents but not of the two children she lost in the 2000s.

I love her use of the word “spray” since it captures both how she has been sprayed by loss, as though by a spray gun, and how she has gathered those losses into a spray or cluster of flowers. Pain has been transmuted into beauty:

i have gathered my losses
into a spray of pain;
my parents, my brother,
my husband, my innocence
all clustered together
durable as daisies.

That she chooses daisies is no surprise. In her first collection (good times, 1969), she shows a preference for brightly colored weeds over “calm family flowers”:

flowers

here we are
running with the weeds
colors exaggerated
pistils wild
embarrassing the calm family flowers.    Oh
here we are
flourishing for the field
and the name of the place
is Love

Regarding durability, I wrote recently about how it is a continuing theme for Lucille. I concluded that essay with her lines,

other people think they know
how long life is
how strong life is.
we know

In these trying times, we must draw on any reserves of strength we possess, even while never losing sight of life’s flowers.

Update: My former colleague Michael Glaser, who edited Collected Poems, says that commercially-imposed time restraints meant he was unable to track down all of Clifton’s unpublished poems before the publication deadline. He speculates that “i have gathered my losses” may appear in a forthcoming selection of Clifton poems, entitled How to Carry Water, which contains ten previously unpublished poems.

Further thought: Clifton’s flower imagery brings to mind the Slovenian novel The Self-Sown (1941) by Prežihov Voranc. An Austrian noble family attempts to end an affair between their son and a Slovenian peasant girl, even torturing her with fire at one point. In the end, however, her offspring flourish like wild flowers (thus the title) while the Austrian line withers away. Those not born to privilege prove to be as durable as daisies.

Posted in Uncategorized | Tagged , , , | Comments closed

A Second Grader Reads Eliot’s Cats

Edward Gorey, Scotland Yard searching for Macavity

Wednesday

My eight-year-old grandson Alban has fallen in love with T.S. Eliot’s cat poems. “Mungojerrie and Rumpleteazer” is his current favorite, followed by “Old Gumbie Cat,” “Macavity,” and “Jellico Cats.” Each day I introduce him to a new one, and we’re about halfway through Eliot’s collection.

It came about from teaching him Language Arts during the school year. Because his parents are so busy, with my son in charge of &Pizza’s technology and my daughter-in-law running the Children’s Choir of Washington, they farmed out Alban’s on-line learning to the four grandparents.

For a while I dutifully taught Alban about climate change and had him writing diaries, opinion pieces, and other genres. (Somehow every piece involved exciting escapes. Alban created a character who reports on Bangladesh floods, California wildfires, Central American mudslides.) Then the school gave us permission to teach whatever we wanted, at which point I switched to teach poetry.

Alban, who plays the violin, has a great ear for poetic rhythm. When he reads aloud, he instinctively figures out where the stresses go and rereads lines to make them fit. For a while, I chose particularly bouncy poetry.

“Macavity” is one of the bounciest of Eliot’s cat poems, with stanzas like the following:

Macavity, Macavity, there’s no one like Macavity,
For he’s a fiend in feline shape, a monster of depravity.
You may meet him in a by-street, you may see him in the square—
But when a crime’s discovered, then Macavity’s not there!

While Alban liked this, he soon discovered, pleasure can be gained from varying the rhythm. He figured out that Gumbie Cat has one rhythm for her day time activities and another for her nighttime activities, which are described in alternating stanzas.

He also figured out, as I had not, why there’s a significant rhythm shift in “Mr. Mistoffelees,” the “original conjuring cat.” The poem begins with tortured rhymes and rhythms but then—with a “presto”—it moves into a different key. When Alban compared it to a magician waving a wand, I could only gape in admiration. Here’s the first stanza and a bit of the second:

You ought to know Mr. Mistoffelees!
The Original Conjuring Cat—
(There can be no doubt about that).
Please listen to me and don’t scoff. All his
Inventions are off his own bat.
There’s no such Cat in the metropolis;
He holds all the patent monopolies
For performing surprising illusions
And creating eccentric confusions.
     At prestidigitation
          And at legerdemain
     He’ll defy examination
          And deceive you again.
The greatest magicians have something to learn
From Mr. Mistoffelees’ Conjuring Turn.
Presto!
     Away we go!
          And we all say: OH!
               Well I never!
               Was there ever
               A Cat so clever
                    As Magical Mr. Mistoffelees!

He is quiet and small, he is black
From his ears to the tip of his tail;
He can creep through the tiniest crack
He can walk on the narrowest rail.

As I listen to him read, I note Eliot’s allusions: Mistoffelees is inspired by Marlowe’s Mephistophilis, Growltiger by Barrie’s Captain Hook, Macavity by Doyle’s Moriarty, Jellico Cat by the blackface minstrel song “Buffalo Gals.”

Alban is also hungry for poetic terms to describe the reading experience, such as half rhyme, simile, alliteration, couplet, rhyme scheme, and the like. He picks them up the way that he once learned the complicated names of dinosaurs and with the same enthusiasm

We’re working our way through Louis Untermeyer’s Golden Treasury of Poetry, which has catchy illustrations and which I loved as a child. When he reads a poem that doesn’t appeal to him, he shrugs and moves on.

Sometimes we’ll imagine the poems talking to each other. Who would prevail between the Edward Anthony’s “Bloodhound” (“Folks either must avoid temptation/Or face my nasal accusation”) and Macavity? Clearly Macavity, Alban says. He loves riddle poems, such as “Enigma on the Letter H” where “H” is answer to all the poem’s queries (“…though deaf to the ear,/ It will make it acutely and instantly hear”). He enjoyed the explanation, in W.S. Gilbert’s “The Yarn of the Nancy Bell,” for how an elderly naval man can be, all at once,

…a cook and a captain bold,
And the mate of the Nancy brig,
And a bo’sun tight, and a midshipmite,
And the crew of the captain’s gig.

The answer: The men were shipwrecked and had to resort to cannibalizing each other.

Alban also finds hilarious James Thomas Fields’ “The Owl-Critic,” in which a man in a barber shop critiques an apparently stuffed owl, only to have the owl fly off after seeming to say,

“Your learning’s at fault this time, anyway;
Don’t waste it again on a live bird, I pray.
I’m an owl; you’re another. Sir Critic, good day!”
             And the barber kept on shaving.

After the school year ended, Alban wanted to keep going so it appears our time together will last through the summer. Given the uncertainties of the coronavirus, perhaps longer.

Posted in Uncategorized | Tagged , , | Comments closed

The Bard, Rowling, and Trans Identity

Frederick Richard Pickersgill, “Viola and the Countess”

Tuesday

We’ll take every glimmer of light we’re can get in these dark days, and the Supreme Court’s recent decision protecting LGBTQ individuals  against discrimination fairly glows. The ruling comes three days after the Trump Administration finalized a rule allowing LGBTQ people to be stripped of health care and health insurance and two days after a “Black Trans Lives Matter” march in Boston drew thousands of protesters. In other words, this past week has been an emotional roller coaster ride for LGBTQ people and their supporters.

I’m repurposing a blog essay I wrote three years ago applying Twelfth Night to Trump’s attack on the transgender community. I also touch on J.K. Rowling’s recent insensitive remarks on transgender individuals, which run counter to the creative energies released by the Harry Potter novels.

In Twelfth Night Shakespeare captures our gender complexity, showing that we have much more variety to our natures than those who want to reduce us to a simple man/woman binary will admit. As University of Hawaii biologist Milt Diamond puts it, “Nature loves diversity; humans hate it.”

 Diamond, incidentally, is just referring to unusual chromosome combinations, ambiguous sexual organs, and body chemistry. He doesn’t even enter into gender identity’s psychological and social dimensions.

Shakespeare, who understood humans as well as anyone ever has, couches his exploration within comedy, which circumvents the censors. Then, to cover himself, he returns all of his characters except for Antonio to socially acceptable gender identities. Before that point, however, characters try on a variety of gender identities. It should be noted that Twelfth Night was a holiday comparable to Mardi Gras for gender crossing, a time when people could behave as they would (“What You Will” is the play’s subtitle).

The play opens with an Orsino who longs for a female sensibility and then moves to an Olivia who feels trapped in expectations that she be ultra-feminine (she’s prepared to mourn the death of her brother for seven years). Fortunately for them both, they encounter a character who moves easily between genders. The shipwrecked Viola is prepared to be a lady-in-waiting for Olivia until she learns that the court is closed for mourning. Without missing a beat, she decides instead to dress up as a man and apply to Orsino’s court.

Orsino falls in love with her because she’s the only guy around who understands his longings. (His normal attendants, unnerved by his behavior, suggest deer hunting as a way to restore his masculinity.) Olivia, meanwhile, falls in love with someone acting with the freedom she herself desires. Both, in other words, fall in love with someone who represents the unfulfilled potential they sense in themselves.

I interpret the opening shipwreck that separates Viola from her twin Sebastian as an allegory about gender confusion. Small children aren’t hung up on gender but, all too soon, social expectations strike like the lightning that splits the ship, separating everyone into one of two camps. Those who feel that an important part of them has been sheared away recognize themselves in Orsino and Olivia.

Because Twelfth Night is a comedy, the gender confusion is played for laughs, even though many in society find gender identity to be no laughing matter. And because Shakespeare couldn’t have gotten away with Olivia married to a woman or Orsino to a man, he returns to prescribed roles at the end of the play. For four acts, however, he has let us know that gender identity is not as solid as society tells us it is.

Rowling is currently under fire for openly fearing that gender fluidity will erase female identity. As she sees it, one is a woman if one menstruates. Washington Post’s Molly Roberts has a clever column about Rowling’s views, which the author has conveyed in a sarcastic tweet:

“‘People who menstruate,’” Rowling tweeted last week in response to an article about access to sanitary supplies during the coronavirus epidemic that included “gender non-binary” individuals in its analysis. “I’m sure there used to be a word for those people. Someone help me out. Wumben? Wimpund? Woomud?”

And then, in a follow-up tweet:

If sex isn’t real, the lived reality of women globally is erased. I know and love trans people, but erasing the concept of sex removes the ability of many to meaningfully discuss their lives. It isn’t hate to speak the truth.”

To which Roberts responds,

[N]o one is telling Rowling that she can’t be a woman. No one is trying to erase the term women, at all. The tolerant are merely trying to move beyond the biological dichotomy our society has constructed over centuries — to show there’s something between Platform 9 and Platform 10 after all.

 Roberts calls Rowling a TERF:

A TERF, as it turns out, is not a fantastic beast — but J.K. Rowling continues to insist on showing us where to find one.

The term trans-exclusionary radical feminist, meaning someone who denies transgender women’s womanhood on the theory that it detracts from cis women’s womanhood, is more of a mouthful even than tarantallegra. This jinx, one of many conjured into the cultural canon by the Harry Potter author, sends the legs of the subject into uncontrollable, tap-dancing-like spasms, and Rowling herself in recent years appears afflicted. She flails around on the Internet, upending her legacy piece by piece.

To elaborate with a little history, certain feminists in the 1970s, even as they sought to undo patriarchal limitations, themselves resorted to forms of gender essentialism. Particularly threatening to some of them were individuals who were anatomically male but felt that they were female (trans women). Wouldn’t this just be another instance of men finding ways to take over?

Regarding identity, we all have work to do, given that we have different histories. I’m always willing to give people time to evolve. Now that Rowling has stepped in a hornet’s nest, maybe she will act on the love she says she has for trans people and explore her biases.

More than Rowling’s personal view, however, I am interested in the extent to which fantasy, like comedy, is a powerful forum for grappling with vexed identity questions. Roberts notes that Rowling’s fans are letting their own imaginations run wild, even if Rowling isn’t:

Maybe it’s time to let go. Give the Harry Potter books over to those to whom they have meant, and continue to mean, so much. Allow Neville Longbottom and Luna Lovegood to end up together after all; allow Remus Lupin and Sirius Black to be lovers. Allow Wiccans into Hogwarts; allow Hermione to be black, yes, but trans too, if readers and imaginers believe it.

Yesterday I wrote about how Terry Pratchett has taken fantasy into areas Tolkien could not have imagined. Whereas Tolkien imagines trolls and goblins, with their industrial working class associations, to be a threat to small town hobbit life, Pratchett sees them as contributing members in an increasingly diverse society. In other words, even if Tolkien and Rowling can’t see beyond their own prejudices, the next generation of fantasy writers will do so.

Shakespeare’s genius is that he not only kept up with the times but was at least was at least 400 years ahead of them. Only now can we fully appreciate his insights into trans identity.

Posted in Uncategorized | Tagged , , , , , , | Comments closed

Pratchett’s Witches to the Rescue

Monday

To stay sane during the pandemic, Julia and I have been working our way through Terry Pratchett’s Discworld series. Every few days we order the next batch from Sewanee’s library, picking them up from the front porch between 2-4. Pratchett’s unique blend of fantasy and comedy is a welcome relief from the madness.

Not that Pratchett avoid the world’s contentious issues. I’ve blogged on how well Pratchett uses the fantasy genre to grapple with bigotry and the challenges of living in a diverse society. He does as far better job on this score than either Tolkien or J.K. Rowling as humans, trolls, goblins, witches, vampires, dwarfs, leprechauns, and other creatures figure out how to coexist, even though they have radically different lifestyles and behaviors.

In Wyrd Sisters, the novel I’m reading at present, three Macbethian witches have saved the heir of King Verence, who has been assassinated by Duke Felmet. (The Shakespearean echoes are deliberate—it’s as though they’ve saved one of Macduff’s sons.) They then set cosmic wheels in motion so that he can be in a position to reclaim his throne. The usurping king’s relationship to the kingdom, meanwhile, reminds me of Donald Trump’s relationship to America.

Generally, Pratchett’s populace are fairly cynical about their kings, who have a long history of killing their predecessors to gain access to the throne. As witch Nanny Ogg explains, this is just politics as usual:

“Lots of people have killed each other to become king of Lancre. They’ve done all kinds of murder.”

“Don’t matter! Don’t matter!” said Granny, waving her arms. She started counting on her fingers. “For why,” she said. “One, kings go around killing each other because it’s all part of destiny and such and doesn’t count as murder, and two, they killed for the kingdom.”

Put in modern terms (and the terms Pratchett has in mind), although Tories and Labor or Democrats and Republicans battle for power—sometimes they even resort to dirty tricks—in the end they believe in the country. Obama, the Bushes, Clinton, Reagan, Carter, and even Nixon all were committed to the United States, even though they had different ideas of what was best for it. It’s different this time, however.

In Wyrd Sisters, the land itself rises up, sending signals to the nature-sensitive witches that something is amiss with Felmet. At one point, Granny Weatherwax opens her door and witnesses the following scene (the misspellings are deliberate):

Occupying the patch where the herbs grew in summer were the wolves, sitting or lolling with their tongues hanging out. A contingent of bears were crouched behind them, with a platoon of deer beside them. Occupying the metterforical stalls was a rabble of rabbits, weasels, vermine, badgers, foxes and miscellaneous creatures who, despite the fact that they live their entire lives in a bloody atmosphere of hunter and hunted, killing or being killed by claw, talon and tooth, are generally referred to as woodland folk.

They rested together on the snow, their normal culinary relationships entirely forgotten, trying to outstare her.

America’s own version of such a convergence is conservatives like William Kristol and George Conway making common cause with liberals like Nancy Pelosi and Rev. Al Sharpton.

The witches explore why the land is sending distress signals:

“I don’t reckon a lot of kingdoms do that sort of thing,” [Nanny Ogg] said. “You saw the theater. Kings and such are killing one another the whole time. Their kingdoms just make the best of it. How come this one takes offense all of a sudden?”

“It’s been here a long time,” said Granny.

“So’s everywhere,” said Nancy, and added, with the air of a lifetime student. “Everywhere’s been where it is ever since it was first put there. It’s called geography.”

“That’s just about land,” said Granny. “It’s not the same as a kingdom. A kingdom is made up of all sorts of things. Ideas. Loyalties. Memories. It all sort of exists together. And then all these things create some kind of life. Not a body kind of life, more like a living idea. Made up of everything that’s alive and what they’re thinking. And what the people before them thought.”

Incidentally, Robert Frost wrestles with a similar line of thought in “The Gift Outright,” the poem he recited at John F. Kennedy’s inauguration. “The land was ours before we were the land’s,” he writes. “She was our land more than a hundred years/Before we were her people.” At some point, however, we surrendered ourselves to the land and became, for better and for worse, inextricably entwined with it. America became “a living idea.”

Back to the witches:

“I can see you’ve been thinking about this a lot,” said Nanny, speaking very slowly and carefully. “And this kingdom wants a better king, is that it?”

“No! That is, yes. Look—” she leaned forward—”it doesn’t have the same kind of likes and dislikes as people, right?”

Nanny Ogg leaned back. “Well, it wouldn’t, would it,” she ventured.

“It doesn’t care if people are good or bad. I don’t think it could even tell, anymore than you could tell if an ant was a good ant. But it expects the king to care for it.”

Then she gets down to the difference in this case, which helps us understand how Trump differs from all previous presidents:

“[T]his new man just wants the power. He hates the kingdom.”

“It’s a bit like a dog, really,” said Magrat [the third witch]. Granny looked at her with her mouth open to frame some suitable retort, and then her face softened.

“Very much like,” she said. “A dog doesn’t care if its master’s good or bad, just so long as it likes the dog.”

“Well, then,” said Nanny. “No one and nothing likes Felmet. What are we going to do about it?”

This proves to be a difficult question because witches meddling in politics messes with nature’s laws. In this case, however, a foundational social contract is being violated, forcing the witches’ hand. On the other hand, the final result is totally unexpected.

The kingdom doesn’t get a perfect king, but we don’t need perfect kings. Applying Pratchett’s criteria of someone who cares about the kingdom, either Hillary Clinton or Jeb Bush would have been satisfactory presidents, and Joe Biden will certainly do. After all, the underlying commitment is there.

Posted in Uncategorized | Tagged , , , , , | Comments closed

There Is a Table Bountifully Spread

Severin Roesin, Still Life with Fruit

Spiritual Sunday

I love this Allen Grossman poem, which came to mind last week as I listened (remotely) to our church’s reading of the Genesis creation story. God’s table, it assures us, is always bountifully spread for us. Although the guests have wandered away, leaving the Lord “at rest in his solitude,” the Lord’s voice can always be heard.

The image of the bountifully spread table reminds me of George Herbert’s “Love (3).” When the speaker says he is not worthy to sit down at the table, Love/Jesus responds, “You must sit down and taste my meat.” At which point “So I did sit and eat.”

The Lord’s voice, Grossman tells us, can be heard when life is difficult (“the dust of the roadway”), when life hammers us (“the random hammer of the sea”), when lives seems impossibly complicated (“the riddled vase of mind and mind’s dependencies”), when life is engulfed by pain. In all of these situations, the poet tells us,

The voice of the Lord opens the gates of day.
Air streams through our eyes and brushes the pupils

Streams through our eyes and this is how we see.

I love how God’s touch is both delicate (“brushes”) and constant (“streams”). Then, at the end, Grossman punctuates his analogy with a simple and direct matter-of-fact declaration (“and this is how we see”). So powerful!

The Song of the Lord

There is a table bountifully spread.

In the full sunlight when there is no cloud
And under cloudy skies,
And when there are no stars and when the stars
Distill the time.

                        the table stands in a field.
It is late morning and the service shines.
The guest have wandered from the company.

The Lord is alone.

                        It is good to hear
The voice of the Lord at rest in his solitude.

The guests have wandered from the table set,

But they hear the voice of the Lord at rest:

The song of the Lord in solitude goes up,
Ten times enfolded, blue, and saturate
With law to the heavens at noon of gaze,
And down among the graves and the darker animals.
The song of the Lord indicates the dust
Of the roadway, the random hammer of the sea,
The riddled vase of mind and mind’s dependencies

And pain lost otherwise and lost in this.

The voice of the Lord opens the gates of day.
Air streams through our eyes and brushes the pupils

Streams through our eyes and this is how we see.
Posted in Uncategorized | Tagged , | Comments closed

Swift on How to Ignore 115,000 Deaths

Louis John Rhead, The Servants Drive a Herd of Yahoos into the Field 

Friday

Even as U.S. coronavirus cases went over the 2 million mark, resulting in over 115,000 deaths and counting, many Americans were dispensing with masks, a case of hope triumphing over experience (as Samuel Johnson once observed about second marriages). It’s not just hope, however. Desensitization is necessary to tolerate such numbers: humans have an amazing ability to normalize death, as Jonathan Swift makes clear in Book IV of Gulliver’s Travels.

People have found various ways to rationalize Covid deaths. When nursing home residents die, well, they were close to death anyway. When prisoners die, well, they shouldn’t have done the bad things that sent them to prison. When meat packers die, well, who are these people anyway? When doctors and nurses die, well, they are heroes we should applaud for making the ultimate sacrifice to bring the country back.

Meanwhile we learn that, if we had addressed the virus earlier, tens of thousands of these people would be alive today. Similarly, if we ignore the CDC’s continuing recommendations regarding masks and social distancing, tens of thousands more people will get sick and die who don’t have to.

Swift’s most famous lethally insensitive individual is the Modest Proposer, who advocates eating babies to solve Ireland’s financial woes. The Proposer, however, at least claims to be operating out of general benevolence. The Gulliver’s Travels passage I have in mind is more chilling because Gulliver engages in Hannibal Lector-type behavior without even noticing it.

If we the readers aren’t alert, we miss it as well.

In the final book, Swift’s protagonist has fallen in love the Houyhnhnms and, at the same time, adopted their view of Yahoos as vermin worthy of extermination. Although he eventually must admit that he himself is a Yahoo, he regards his fellow creatures as nothing more than raw materials for a boat he is building:

I finished a sort of Indian canoe, but much larger, covering it with the skins of Yahoos, well stitched together with hempen threads of my own making.  My sail was likewise composed of the skins of the same animal; but I made use of the youngest I could get, the older being too tough and thick; and I likewise provided myself with four paddles.  I laid in a stock of boiled flesh, of rabbits and fowls, and took with me two vessels, one filled with milk and the other with water.

I tried my canoe in a large pond, near my master’s house, and then corrected in it what was amiss; stopping all the chinks with Yahoos’ tallow, till I found it staunch, and able to bear me and my freight; and, when it was as complete as I could possibly make it, I had it drawn on a carriage very gently by Yahoos to the sea-side, under the conduct of the sorrel nag and another servant.

In other words, he uses the hides of adult humans for the outer shell, human baby skin for the sails, and human fat to stop the chinks. One is reminded of how Nazis also mined their victims, using skin for lampshades, bones for fertilizer, and hair for mattress stuffing.

The horror of Swift’s scene lies in Gulliver’s lack of horror. The horror in our own situation lies is how many, starting with the president, shrug off the highest death toll in the world. We may not be stripping our front line workers of their hides, but we’re equally callous about their well-being.

Again, many of these living, vibrant, complex and worthy human beings did not—and do not—have to die. An intelligent and concerted response could still save tens of thousands of lives. If we simply write them off as the cost of doing business, then God help us all.

Posted in Uncategorized | Tagged , , , | Comments closed

Trump as Low-Rent Lear

James Pittendrigh McGillivray, King Lear

Thursday

I’m no George Will fan but, because he is as horrified by Trump and the current GOP as I am, we’re currently agreeing more than disagreeing. Our differences aside, I’ve always been impressed with Will’s literary allusions, especially when he described Mike Pence as a cross between Elmer Gantry and Uriah Heap.

Will made a couple of pointed comparisons in a recent column where, astonishingly, he advocates voting a straight Democratic ticket in November. As Will sees it, Trump is King Lear while his GOP enablers are T.S. Eliot’s Hollow Men.

First, Trump:

This unraveling presidency began with the Crybaby-in-Chief banging his spoon on his highchair tray to protest a photograph — a photograph — showing that his inauguration crowd the day before had been smaller than the one four years previous. Since then, this weak person’s idea of a strong person, this chest-pounding advertisement of his own gnawing insecurities, this low-rent Lear raging on his Twitter-heath has proven that the phrase malignant buffoon is not an oxymoron.

In one of my own columns on the Lear-Trump similarities, I have noted that Lear’s narcissism destroys his country:

Once Lear divides his kingdom into two, civil war is inevitable, and tensions between Cornwall and Albany arise immediately. We can note that Trump too has ridden divisiveness to the presidency, and has made no attempt—as all previous presidents have done—to reach out to the other side. Incidentally, nothing terrified Shakespeare more than civil strife, which is present in practically all of his history plays and in a fair number of his tragedies. The horrors of recent history, the War of the Roses and the Catholic-Protestant clashes, loomed large in his mind.

Increasingly, the specter of civil strife looms large in our own.

In Shakespeare’s play, there are two characters who speak truth to power (Kent and Cordelia) and one who is a notorious sycophant (Oswalt). The first two sacrifice everything to be true to their country, the third is willing to kill a blindman if his mistress tells him to. Guess how Will sees the current GOP:

A political party’s primary function is to bestow its imprimatur on candidates, thereby proclaiming: This is who we are. In 2016, the Republican Party gave its principal nomination to a vulgarian and then toiled to elect him. And to stock Congress with invertebrates whose unswerving abjectness has enabled his institutional vandalism, who have voiced no serious objections to his Niagara of lies, and whom T.S. Eliot anticipated:

We are the hollow men . . .
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
or rats’ feet over broken glass . . .

The “hollow men” are those who blow whichever way the wind blows, which for the GOP is currently in a Trump direction. Like the lost souls in Dante’s Limbo that are Eliot’s inspiration, they dare not meet accusatory eyes. The following passage reminds me of senators trying to avoid journalists asking about Trump’s latest tweet:

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.

In Inferno, Dante’s guide would rather move on to other sinners than spend a moment more gazing at such people. Dante learns that “they never were alive” and that no one, either in heaven or in hell, wants anything more to do with them. Think how many current-day GOP legislators fit the following description:

Shape without form, shade without color,
Paralyzed force, gesture without motion;
Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us–if at all–not as lost
Violent souls, but only 
As the hollow men,
The stuffed men.

Some people believe that history will not deal kindly with Trump’s GOP enablers. Dante, Eliot, and Will suggest that history will not even remember them.

Posted in Uncategorized | Tagged , , , , , , | Comments closed