Thrown by Proust into the Past

Paul Nadar, photo of Jeanne Pouquet, Proust’s model for Gilberte Swann

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Wednesday

An unexpected gift of reading Swann’s Way, my Lenten project, has been to find myself plunged into memories of my own childhood. In other words, I have been inspired to go searching for my own lost time. When the narrator describes a childhood friendship he develops with Swann’s daughter Gilberte, I think of Chris Mayfield.

Chris was a friend in third, fourth, and fifth grades when her father, Judd, was attending Sewanee’s School of Theology. Despite the relatively short time period, Chris occupies an outsized place in my imagination, just as Gilberte does in that of Proust’s narrator.

First to Gilberte, whom the narrator initially encounters only at a distance. Her father regularly dines with his family in Combray, their country home away from Paris, and the narrator first sees her when he is walking past the Swann house:

Suddenly I stood still, unable to move, as happens when something appears that requires not only our eyes to take it in, but involves a deeper kind of perception and takes possession of the whole of our being. A little girl, with fair, reddish hair, who appeared to be returning from a walk, and held a trowel in her hand, was looking at us, raising towards us a face powdered with pinkish freckles. 

When he hears Gilberte’s mother call out her name, he feels he has encountered “a talisman which might, perhaps, enable me some day to rediscover her whom its syllables had just endowed with a definite personality, whereas, a moment earlier, she had been only something vaguely seen.”

And indeed, he will later and unexpectedly encounter Gilberte in Paris when he is taken for walks on the Champs Elysée. She invites him to join in a game she is playing with friends, and he falls hopelessly in love with her. Or at least puppy love.

The love is not, nor could it be, reciprocated since the narrator so idealizes Gilberte. As a result, for every happy moment, there are many more unhappy ones. First, here’s a memory he treasures:

We got ready to play and, since this day which had begun so sadly was destined to end in joy, as I went up, before the game started, to the friend with the sharp voice whom I had heard, that first day, calling Gilberte by name, she said to me: “No, no, I’m sure you’d much rather be in Gilberte’s camp; besides, look, she’s signalling to you.” She was in fact summoning me to cross the snowy lawn to her camp, to ‘take the field,’ which the sun, by casting over it a rosy gleam, the metallic lustre of old and worn brocades, had turned into a Field of the Cloth of Gold.

Even this happy occasion, however, only serves to accentuate the unhappy ones. As the narrator observes, “This day, which I had begun with so many misgivings, was, as it happened, one of the few on which I was not unduly wretched.”

He’s wretched in part because the relationship is almost entirely one-sided. He reports being a little boy obsessed with someone who is not obsessed in return:

For, although I no longer thought, now, of anything save not to let a single day pass without seeing Gilberte…yet those moments which I spent in her company, for which I had waited with so much impatience all night and morning, for which I had quivered with excitement, to which I would have sacrificed everything else in the world, were by no means happy moments; well did I know it, for they were the only moments in my life on which I concentrated a scrupulous, undistracted attention, and yet I could not discover in them one atom of pleasure. All the time that I was away from Gilberte, I wanted to see her, because, having incessantly sought to form a mental picture of her, I was unable, in the end, to do so, and did not know exactly to what my love corresponded. Besides, she had never yet told me that she loved me. Far from it, she had often boasted that she knew other little boys whom she preferred to myself, that I was a good companion, with whom she was always willing to play, although I was too absent-minded, not attentive enough to the game. 

My own relationship with Chris was nothing like this. First of all, as we lived in the same wooden apartment building—situated where Sewanee’s library now stands—and as we were in the same class in school, I saw her all the time. In other words, I didn’t have to conjure her up in my imagination.

Nor did I idealize her, at least not then. Still, she was my best friend and I did find her remarkable. Here are a few memories that I have carried around with me in the 60 or so years since we were playmates:

–I remember her arguing loudly for women’s rights with some boy in fourth grade. I believe the issue was whether the Girl Scouts or the Boy Scouts were founded first, and while I remember asking her why this mattered, I see now she was pushing against boys with an entitled sense of their superiority. I’m sure she became a feminist, like the woman I myself married.

–I also remember her telling me, with horror in her voice, about how sometime in the future as a girl, she would start bleeding every month. She found this to be terribly unfair whereas I was grossed out and didn’t want to hear any more about it.

–Chris introduced me to the Narnia books—this when we were in third grade—and I can still remember her showing me The Silver Chair. She wanted us to put out our hands out and pray to Aslan, like Jill and Eustace, so that we would be transported to Narnia. I thought this was weird but went along.

–I believe she also introduced me to Tolkien, whose books would become the great love of my childhood (followed closely by Narnia). When I wrote to Tolkien and he sent me (along with his letter) a signature “to paste in one of your books,” I gave the signature to Chris.

–In fourth grade, when my mother was teaching our class French, Chris wrote a French version of Snow White for a play that our class performed. For having done so, she was offered any role she wanted and chose the wicked stepmother. She recognized that the stepmother was far more interesting than Snow White.

–Once, when we were building a shelter with sticks we found in the yard, I thought it would be more efficient to use boards from our jungle gym. Without consulting her, I replaced the sticks with boards. She was so furious with me that she wouldn’t speak to me for the rest of the day, and I have carried that lesson with me ever since. (It’s the process, not the final product, that’s important.)

–For some reason, Chris was always late to school. I remember one morning, however, when she was proud to have gotten there before me—only to feel upstaged when I came with the announcement that my youngest brother had been born overnight.

–I also remember envying her that she had a bicycle and I didn’t. We would walk home from school together—she walking her bicycle—but she would take off down a steep hill when we reached it and then see how far she could pedal up the ascent on the other side. Wanting to experience the same thrill, I borrowed her younger brother’s bicycle (without asking) and set off for that same hill—and had a painful crash when I hit a pothole.

I regard it as primarily my fault that we lost touch after she left Sewanee, her father having become a rector in a Pensacola, Florida church. I’m pretty sure she would have written if I had, but I’m a lousy correspondent and never followed up my vague yearnings to find out how her life had gone. I have no idea how to get in touch with her now.

Proust writes that “the memory of a certain image is but regret for a certain moment,” but I don’t know if it is regret so much as curiosity that has me thinking of Chris now. If a reunion were ever to occur, I would not be sad that she didn’t live up to certain images I have of her because I think she would be far more interesting now than she was then. After all, she’s had a whole life of experiences, as have I. I’ve heard that she has three daughters and that she edited a collection of essays—Growing Up Southern—which means that it would be fascinating to learn about how the girl I knew became the woman she became.

I’m not sure how to make it happen. But I’m open to it if it does.

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On Trump, Achilles, and Retribution

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Tuesday

My faculty book group concluded Homer’s Iliad yesterday with an examination of Priam’s meeting with Achilles to recover the body of his son. While we were discussing how revenge hollows out Achilles, I thought of Donald Trump openly promising retribution upon all who have slighted him.

In a recent appearance at Waco, Texas, an event that attracted white supremacists, neo-Nazis, and other shady types, Donald Trump declared,

I am your warrior, I am your justice. For those who have been wronged and betrayed … I am your retribution.

Trump is no Achilles, who is not only a great warrior but a gifted leader, but the thirst for revenge operates similarly on both men. But while I hold out little hope for Trump, Achilles reconnects with his humanity by the end of the epic.

First, however, Homer shows retribution’s corrosive effects. Following the death of his BFF Patroclus, Achilles goes on a killing rampage that eventually has his chariot throwing up a bloody spray:

…before great-hearted Achilleus the single-foot horses
trampled alike dead men and shields, and the axle under
the chariot was all splashed with blood and the rails which encircled
the chariot, struck by flying drops from the feet of the horses,
from the running rims of the wheels. The son of Peleus was straining
to win glory, his invincible hands spattered with bloody filth.

Wilfred Owen, incidentally, alludes to this passage in his great anti-war poem “Strange Meeting,” where he writes “when much blood had clogged their chariot-wheels” to capture the horrors of World War I.

The killing spree continues. When one Trojan begs Achilles for mercy, the Greek hero not only ignores his pleas but derides and dishonors him:

Achilleus caught him by the foot and slung him into the river
to drift, and spoke winged words of vaunting derision over him:
‘Lie there now among the fish, who will lick the blood away
from your wound, and care nothing for you, nor will your mother
lay you on the death-bed and mourn over you, but Skamandros
will carry you spinning down to the wide bend of the salt water.
And a fish will break a ripple shuddering dark on the water
as he rises to feed upon the shining fat of Lykaon.

Even nature is appalled at what it is witnessing so that the Skamandros River rises up and threatens to drown Achilles.

We see how brutish Achilles has become in his final confrontation with Hektor. Before they fight, Hektor asks Achilles to agree that the victor will honor the other’s body. The imagery Achilles uses, however, reveals him to be animal-like:

Then looking darkly at him swift-footed Achilleus answered:
‘Hektor, argue me no agreements. I cannot forgive you.
As there are no trustworthy oaths between men and lions,
nor wolves and lambs have spirit that can be brought to agreement
but forever these hold feelings of hate for each other,
so there can be no love between you and me, nor shall there be
oaths between us, but one or the other must fall before then
to glut with his blood Ares the god who fights under the shield’s guard.

After killing Hektor, Achilles then drags him around the walls of Troy three times. Yet even this does not bring him peace so that, by the last book, he is thinking of further ways to enact revenge for the friend he has lost:

Remembering all these things he let fall the swelling tears, lying
sometimes along his side, sometimes on his back, and now again
prone on his face; then he would stand upright, and pace turning
in distraction along the beach of the sea, nor did dawn rising
escape him as she brightened across the sea and the beaches.
Then, when he had yoked running horses under the chariot
he would fasten Hektor behind the chariot, so as to drag him,
and draw him three times around the tomb of Menoitios’ fallen
son, then rest again in his shelter, and throw down the dead man
and leave him to lie sprawled on his face in the dust.

To end this madness and bring order back to humankind, Zeus sends down divine intermediaries. Priam is prompted to go and beg the body of his from the man who has killed him while Achilles is ordered to be merciful. At this point, as our discussion leader John Reishman pointed out, the gods withdraw from the scene, leaving it up to the two men to work things out. Priam wins Achilles over by prostrating himself before him and then asking him to think of his own father:

‘Achilleus like the gods, remember your father, one who
is of years like mine, and on the door-sill of sorrowful old age.
And they who dwell nearby encompass him and afflict him,
nor is there any to defend him against the wrath, the destruction.
Yet surely he, when he hears of you and that you are still living,
is gladdened within his heart and all his days he is hopeful
that he will see his beloved son come home from the Troad.

The plea gets through:

So he spoke, and stirred in the other a passion of grieving
for his own father. He took the old man’s hand and pushed him
gently away, and the two remembered, as Priam sat huddled  
at the feet of Achilleus and wept close for manslaughtering Hektor
and Achilleus wept now for his own father, now again
for Patroklos. The sound of their mourning moved in the house.

At that point they engage is very human actions, eating together and then retiring to sleep. The sacred rules of hospitality, which Paris violated when he ran off with Helen, have been restored:

Automedon took the bread and set it out on the table
in fair baskets, while Achilleus served the meats. And thereon
they put their hands to the good things that lay ready before them.
But when they had put aside their desire for eating and drinking,
Priam, son of Dardanos, gazed upon Achilleus, wondering
at his size and beauty, for he seemed like an outright vision
of gods. Achilleus in turn gazed on Dardanian Priam
and wondered, as he saw his brave looks and listened to him talking.

So are other sacred rituals. For instance, before Priam returns to Troy with Hektor’s body, Achilles asks him how long the father will need to mourn his son’s death (eleven days) and promises that the Greeks will hold off fighting until then.

John and others in our group noted that, in a world of cruelty and death, such rituals are essential if we are to rise above our animal selves and find meaning to our existence. Without them, the life of humans is (to quote Thomas Hobbes) “solitary, poor, nasty, brutish, and short.”

This is what awaits the United States if it allows Trump’s vengeful desires to win out–which is to say, if people with power act out their angry urges upon those who disagree with them. If Achilles and Priam, enemies with every reason to hate each other, can break bread together, then Democrats and Republicans should be able to do the same.

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A Child’s Vision of British Monarchs

E. H. Shepard, “The King’s Breakfast”

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Monday

Following the coronation of King Charles III on Saturday, I found myself thinking about how literature has shaped my vision of British monarchs. Major influences have been the poetry of A.A. Milne, The Adventures of Robin Hood, and (later in life) Shakespeare’s history plays, which allow me to sort out the Lancasters and the Yorks in the War of the Roses.

Milne, however, seems to have left the deepest mark, and I can still recite both “King John’s Christmas” and “The King’s Breakfast.” Given how many people seem to be dismissing Charles as irrelevant or worse, perhaps the first of the two poems captures the way he is being treated:

King John was not a good man —
He had his little ways.
And sometimes no one spoke to him
For days and days and days.
And men who came across him,
When walking in the town,
Gave him a supercilious stare,
Or passed with noses in the air —
And bad King John stood dumbly there,
Blushing beneath his crown.

Why King John is bad Milne never explains, although as one of the villains in the Robin Hood saga—he opposes the return of the true king, his brother and crusader King Richard the Lion-Hearted—he has certainly gotten bad press.

Charles III has sometimes been described (perhaps unfairly, I don’t know) as overly concerned with trivial matters, which is the case with the monarch in “The King’s Breakfast.” Children like the bounciness of the poem, and they also relate to how the king is being told what he should want rather than what he actually wants. After the cows says he should prefer marmalade to the butter he asks for, he goes to bed in a pout:

The King said,
“Bother!”
And then he said,
“Oh, deary me!”
The King sobbed, “Oh, deary me!”
And went back to bed.
“Nobody,”
He whimpered,
“Could call me
A fussy man;
I only want
A little bit
Of butter for
My bread!”

As a child, I loved the image of the king sliding down the bannisters when he finally gets his wish:

The Queen took
The butter
And brought it to
His Majesty;
The King said,
“Butter, eh?”
And bounced out of bed.
“Nobody,” he said,
As he kissed her
Tenderly,
“Nobody,” he said,
As he slid down the banisters,
“Nobody,
My darling,
Could call me
A fussy man –

BUT
I do like a little bit of butter to my bread!”

Speaking of English kings, there’s a great mnemonic for remembering Britain’s monarchs going back to William the Conqueror. Richard III gets called “Dick the Bad”—I complained about this in a recent post—but it’s handy for getting everyone straight:

Willie Willie Harry Stee
Harry Dick John Harry three;
One two three Neds, Richard two
Harrys four five six….then who?
Edwards four five, Dick the bad,
Harrys (twain), Ned six (the lad);
Mary, Bessie, James you ken,
Then Charlie, Charlie, James again…
Will and Mary, Anna Gloria,
Georges four, Will four Victoria;
Edward seven next, and then
Came George the fifth in nineteen ten;
Ned the eighth soon abdicated
Then George six was coronated;
After which Elizabeth
And that’s all folks until her death.

Now we just have to figure out to get Charles III in the poem.

Past post
King Charles poems (Charles I and II)

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Secret Garden, Hidden Soul

Dixie Egerickx as Mary in The Secret Garden

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Spiritual Sunday

For some reason, I recently experienced the urge to reread the Francis Hodgson Burnett novels that played a key role in my childhood. My ranking has changed so that Little Lord Fauntleroy has fallen from first to third, but The Secret Garden and A Little Princess still hold me in their magic the way they did then.

The secret garden that Mary discovers works as a metaphor for the soul, and the central theme of the book is characters reconnecting with that part of themselves that they have lost touch with. The drama is captured through images of spring growth, which the children call Magic:

They always called it Magic and indeed it seemed like it in the months that followed—the wonderful months—the radiant months—the amazing ones. Oh! the things which happened in that garden! If you have never had a garden, you cannot understand, and if you have had a garden you will know that it would take a whole book to describe all that came to pass there. At first it seemed that green things would never cease pushing their way through the earth, in the grass, in the beds, even in the crevices of the walls. Then the green things began to show buds and the buds began to unfurl and show color, every shade of blue, every shade of purple, every tint and hue of crimson.

And:

The seeds Dickon and Mary had planted grew as if fairies had tended them. Satiny poppies of all tints danced in the breeze by the score, gaily defying flowers which had lived in the garden for years and which it might be confessed seemed rather to wonder how such new people had got there. And the roses—the roses! Rising out of the grass, tangled round the sun-dial, wreathing the tree trunks and hanging from their branches, climbing up the walls and spreading over them with long garlands falling in cascades—they came alive day by day, hour by hour. Fair fresh leaves, and buds—and buds—tiny at first but swelling and working Magic until they burst and uncurled into cups of scent delicately spilling themselves over their brims and filling the garden air.

As Dylan Thomas puts it, “The force that through the green fuse drives the flower/ Drives my green age.”

This magic works not only on the children but on the heartsore owner of the estate, who flees from the garden after his wife is killed by a falling tree limb. Following ten years of empty wandering in a spiritual desert, however, he experiences a Wordsworthian connection with nature that transforms him. It occurs when he is walking in the Austrian Alps and settles upon a carpet of moss by a stream. What Wordsworth describes in Tintern Abbey happens to Archibald Craven as he gazes at the stream and the birds that “come and dip their heads to drink in it and then flick their wings and fly away.” In Wordsworth’s case, the poet is visited by a “blessed mood”

In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened:—that serene and blessed mood,
In which the affections gently lead us on,—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.

Burnett writes:

As he sat gazing into the clear running of the water, Archibald Craven gradually felt his mind and body both grow quiet, as quiet as the valley itself. He wondered if he were going to sleep, but he was not. He sat and gazed at the sunlit water and his eyes began to see things growing at its edge. There was one lovely mass of blue forget-me-nots growing so close to the stream that its leaves were wet and at these he found himself looking as he remembered he had looked at such things years ago. He was actually thinking tenderly how lovely it was and what wonders of blue its hundreds of little blossoms were. He did not know that just that simple thought was slowly filling his mind—filling and filling it until other things were softly pushed aside. It was as if a sweet clear spring had begun to rise in a stagnant pool and had risen and risen until at last it swept the dark water away. But of course he did not think of this himself. He only knew that the valley seemed to grow quieter and quieter as he sat and stared at the bright delicate blueness. He did not know how long he sat there or what was happening to him, but at last he moved as if he were awakening and he got up slowly and stood on the moss carpet, drawing a long, deep, soft breath and wondering at himself. Something seemed to have been unbound and released in him, very quietly.

“What is it?” he said, almost in a whisper, and he passed his hand over his forehead. “I almost feel as if—I were alive!”

The focus on the forget-me-nots also brings to mind the concluding lines of Wordsworth’s Intimations of Immortality:

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

In Secret Garden, when asked by the children whether the process is indeed Magic, Susan Sowerby, functioning in the book as the wise mother, observes that the label doesn’t matter. Having come upon the children right after they have sung the Doxology—“Praise God from whom all blessings flow”—Susan observes,

I never knowed it by that name [“Magic”] but what does th’ name matter? I warrant they call it a different name i’ France an’ a different one i’ Germany. Th’ same thing as set th’ seeds swellin’ an’ th’ sun shinin’ made thee a well lad an’ it’s th’ Good Thing. It isn’t like us poor fools as think it matters if us is called out of our names. Th’ Big Good Thing doesn’t stop to worrit, bless thee. It goes on makin’ worlds by th’ million—worlds like us. Never thee stop believin’ in th’ Big Good Thing an’ knowin’ th’ world’s full of it—an’ call it what tha’ likes.

“Big Good Thing” works as well as any description. So does her next appellation, which is “Joy Maker”:

Th’ Magic listened when tha’ sung th’ Doxology. It would ha’ listened to anything tha’d sung. It was th’ joy that mattered. Eh! lad, lad—what’s names to th’ Joy Maker,”

When a New York Times reporter tried to pin the author down to a particular religious influence, Burnett gave a response very much in the Sowerby spirit:

I am not a Christian Scientist, I am not an advocate of New Thought [like Theosophy], I am not a disciple of the Yogi teaching, I am not a Buddhist, I am not a Mohammedan, I am not a follower of Confucius. Yet I am all of these things.

Late in the book, Burnett attempts to set forth her philosophy. In the process, she articulates what I think Jesus meant by creating the kingdom of God on earth. The passage occurs in response to Colin declaring, in his exuberance at his new-found health, “I shall live forever—and ever—and ever”:

One of the strange things about living in the world is that it is only now and then one is quite sure one is going to live forever and ever and ever. One knows it sometimes when one gets up at the tender solemn dawn-time and goes out and stands alone and throws one’s head far back and looks up and up and watches the pale sky slowly changing and flushing and marvelous unknown things happening until the East almost makes one cry out and one’s heart stands still at the strange unchanging majesty of the rising of the sun–which has been happening every morning for thousands and thousands and thousands of years. One knows it then for a moment or so. And one knows it sometimes when one stands by oneself in a wood at sunset and the mysterious deep gold stillness slanting through and under the branches seems to be saying slowly again and again something one cannot quite hear, however much one tries. Then sometimes the immense quiet of the dark blue at night with millions of stars waiting and watching makes one sure; and sometimes a sound of far-off music makes it true; and sometimes a look in someone’s eyes.

Or as Wordsworth puts in in Tintern Abbey,

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

I sensed Burnett’s vision as a child. I find it even more powerful now.

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Crucial Support in the Face of Death

Winfrey (Mattie), Whitfield (Ciel) in Women of Brewster Place

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Friday

Yesterday I discussed how much I admired Kitty in Anna Karenina for nursing her dying brother-in-law, despite the objections of a husband that wants to protect her from all unpleasantness. Today I write about another woman who will not be denied her place by someone who is dying. Such literature inspires us by showing how life insists upon itself, despite all obstacles.

The character I have in mind is Mattie Michael in Gloria Naylor’s The Women of Brewster Place. The novel is a series of stories about Black women who live in an urban cul-de-sac, and Mattie has had her share of troubles, from being beaten by her father and leaving home for an out-of-wedlock pregnancy to losing this son years later when he jumps bail following a manslaughter charge. Having known such sorrow, she doesn’t hold back when her next-door-neighbor is close to death.

Ciel has lost her baby girl after the child electrocutes herself by sticking a fork in a socket. Ravaged by grief, she decides to die herself, refusing all food and drink:

People had mistaken it for shock when she refused to cry. They thought it some special sort of grief when she stopped eating and even drinking water unless forced to her hair went uncombed and her body unbathed. But Ciel was not grieving for Serena. She was simply tired of hurting. And she was forced to slowly give up the life that God had refused to take from her.

While others, somewhat like Kitty’s Levin, shy away from what they’re seeing, Mattie does not. Instead, she charges in, refusing to let death have dominion:

Mattie stood in the doorway, and an involuntary shudder when through her when she saw Ciel’s eyes. Dear God, she thought, she’s dying, and right in front of our faces.

“Merciful Father, no!” she bellowed. There was no prayer, no bended kneed or sackcloth supplication in those words, but a blasphemous fireball that shot forth and went smashing against the gates of heaven, raging and kicking, demanding to be heard.

“No! No! No!” Like a black Brahman cow, desperate to protect her young, she surged into the room, pushing the neighbor woman and the others out of her way.

Like Kitty with Levin’s brother, Mattie instinctively knows what the occasion calls for as she takes Ciel in her arms:

She sat on the edge of the bed and enfolded the tissue-thin body in her huge ebony arms. And she rocked. Ciel’s body was so hot it burned Mattie when she first touched her, but she held on and rocked. Back and forth, back and forth—she had Ciel so tightly she could feel her young breast flatten against the buttons of her dress. The black mammoth gripped so firmly that the slightest increase of pressure would have cracked the girl’s spine. But she rocked.

Perhaps there’s a slight echo of Walt Whitman’s “Out of the Cradle Endlessly Rocking” here because the rocking takes on archetypal dimensions. Mattie becomes that force which, through the long history of human suffering, provides a comfort so deep as to keep the race keeping on:

Ciel moaned. Mattie rocked. Propelled by the sound, Mattie rocked her out of that bed, out of that room, into a blue vastness just underneath the sun and above time. She rocked her over Aegean seas so clean they shone like crystal, so clear the fresh blood of sacrificed babies torn from their mother’s arms and given to Neptune could be seen like pink froth on the water. She rocked her on and on, past Dachau, where soul-gutted Jewish mothers swept their children’s entrails off laboratory floors. They flew past the spilled brains of Senegalese infants whose mothers had dashed them on the wooden sides of slave ships. And she rocked on.

And in that comfort, which passeth all human understanding, she finds her way to the heart of the pain:

She rocked her into her childhood and let her see murdered dreams. And she rocked her back, back into the womb, to the nadir of her hurt, and they found it—a slight silver splinter, embedded just below the surface of the skin. And Mattie rocked and pulled—and the splinter gave way, but its roots were deep, gigantic, ragged, and they tore up flesh with bits of fat and muscle tissue clinging to them. They left a huge hole, which was already starting to pus over, but Mattie was satisfied. It would heal.

And Ciel does heal. First she retches (“After a while she heaved only air, but the body did not seem to want to stop”), which Naylors describes as “exorcising the evilness of pain.” Then Mattie gives her water, gently bathes her, and wraps her in a clean sheet. The session ends in healing tears:

And Ciel lay down and cried. But Mattie knew the tears would end. And she would sleep. And morning would come.

Dylan Thomas counseled us not to go gentle into that good night but to “rage and burn” at the approach of death. When Julia and I lost our Justin, I was like King Hrethel in Beowulf, who crawls into bed when he loses his eldest son, never to emerge, but Julia insisted on life. I still remember, the morning after, going out at dawn into the grass by the inlet close to our house and lying together in the wet grass. Although our grief shook us to our core, she insisted that we keep going.

And we have.

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Tolstoy’s Kitty and a Dying Patient

Victorian nurses caring for a dying man suffering from Tuberculosis

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Thursday

My favorite episode in Anna Karenina is the one where Levin tries to protect his new wife from his dying brother—he doesn’t want her to have to confront the unpleasantness of the world—only to discover that she can handle the situation better than he can. At that moment, he realizes he has married a woman with far more depth than he realized.

The episode also raises a question I’ve long thought about: why do women seem more able to handle sickness, dying, and death better than men?

Such a question comes with the caveat that all gender generalizations are suspect and none should be seen as absolute. In my own experience, however, this has proved to be the case. When my oldest son died and our family was lost in a haze, a number of women descended upon our house and took over. They saw there was a need and saw that they could help.

I also saw how my wife Julia worked with my dying mother far better than I did. I was like Tolsoy’s Levin, getting tangled in my head about what I should say or do, whereas Julia—like Kitty—kept her eye firmly fixed on what was most important.

When Levin’s brother is dying, Levin initially tries to prevent Kitty from going to see him, believing that his young bride won’t be able to handle either the brother’s unpleasantness or his lower class female companion. Kitty, however, refuses to stay away. Here’s an excerpt of from one of their first marital arguments:

“I tell you, that if you go, I shall come with you; I shall certainly come,” she said hastily and wrathfully. “Why out of the question? Why do you say it’s out of the question?”

“Because it’ll be going God knows where, by all sorts of roads and to all sorts of hotels. You would be a hindrance to me,” said Levin, trying to be cool.

“Not at all. I don’t want anything. Where you can go, I can….”

“Well, for one thing then, because this woman’s there whom you can’t meet.”

“I don’t know and don’t care to know who’s there and what. I know that my husband’s brother is dying and my husband is going to him, and I go with my husband too….”

As it turns out, Levin is fairly useless when he encounters his brother:

Levin could not look calmly at his brother; he could not himself be natural and calm in his presence. When he went in to the sick man, his eyes and his attention were unconsciously dimmed, and he did not see and did not distinguish the details of his brother’s position. He smelt the awful odor, saw the dirt, disorder, and miserable condition, and heard the groans, and felt that nothing could be done to help. It never entered his head to analyze the details of the sick man’s situation, to consider how that body was lying under the quilt, how those emaciated legs and thighs and spine were lying huddled up, and whether they could not be made more comfortable, whether anything could not be done to make things, if not better, at least less bad. It made his blood run cold when he began to think of all these details. He was absolutely convinced that nothing could be done to prolong his brother’s life or to relieve his suffering. But a sense of his regarding all aid as out of the question was felt by the sick man, and exasperated him. And this made it still more painful for Levin. To be in the sick-room was agony to him, not to be there still worse. And he was continually, on various pretexts, going out of the room, and coming in again, because he was unable to remain alone.

This stands in stark contrast to how Kitty responds:

But Kitty thought, and felt, and acted quite differently. On seeing the sick man, she pitied him. And pity in her womanly heart did not arouse at all that feeling of horror and loathing that it aroused in her husband, but a desire to act, to find out all the details of his state, and to remedy them. And since she had not the slightest doubt that it was her duty to help him, she had no doubt either that it was possible, and immediately set to work. The very details, the mere thought of which reduced her husband to terror, immediately engaged her attention. She sent for the doctor, sent to the chemist’s, set the maid who had come with her and Marya Nikolaevna to sweep and dust and scrub; she herself washed up something, washed out something else, laid something under the quilt. Something was by her directions brought into the sick-room, something else was carried out. She herself went several times to her room, regardless of the men she met in the corridor, got out and brought in sheets, pillow cases, towels, and shirts.

Levin thinks his irascible brother will be upset at Kitty’s interference, only to discover that she understands the brother better than Levin does:

Levin did not approve of all this; he did not believe it would be of any good to the patient. Above all, he feared the patient would be angry at it. But the sick man, though he seemed and was indifferent about it, was not angry, but only abashed, and on the whole as it were interested in what she was doing with him.

Tolstoy continues to hammer home the difference between the two different approaches to death as the episode continues. Here he contrasts Kitty and the brother’s female companion with Levin:

Both [women] knew, without a shade of doubt, what sort of thing life was and what was death, and though neither of them could have answered, and would even not have understood the questions that presented themselves to Levin, both had no doubt of the significance of this event, and were precisely alike in their way of looking at it, which they shared with millions of people. The proof that they knew for a certainty the nature of death lay in the fact that they knew without a second of hesitation how to deal with the dying, and were not frightened of them. Levin and other men like him, though they could have said a great deal about death, obviously did not know this since they were afraid of death, and were absolutely at a loss what to do when people were dying. If Levin had been alone now with his brother Nikolay, he would have looked at him with terror, and with still greater terror waited, and would not have known what else to do.

And further on:

More than that, he did not know what to say, how to look, how to move. To talk of outside things seemed to him shocking, impossible, to talk of death and depressing subjects—also impossible. To be silent, also impossible. “If I look at him he will think I am studying him, I am afraid; if I don’t look at him, he’ll think I’m thinking of other things. If I walk on tiptoe, he will be vexed; to tread firmly, I’m ashamed.” Kitty evidently did not think of herself, and had no time to think about herself: she was thinking about him because she knew something, and all went well.

Ultimately, it is Kitty, not Levin, who does the brother the most good in his final moments.

As I say, I shy away from gender generalizations, and there are undoubtedly men who can handle sick beds and women who can’t. But my own experience has been Levin’s, and I deeply admire and gratefully acknowledge those women who step up in moments of crisis.

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Late to the Party

Yellow poplar

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Wednesday

As Shakespeare would say, rough winds are currently shaking our darling buds, with gusts of up to 45 miles an hour bringing in unseasonably cold temperatures. At the same time, the green wave is well underway, having finally—for the most part—worked its way to the top of the Sewanee mountain. This gives me an excuse to share this lovely Patrick Kavanagh poem, about one tree that is taking its time about getting with the program:

To a Late Poplar

Not yet half-drest
O tardy bride!
And the priest
And the bridegroom and the guests
Have been waiting a full hour.

The meadow choir
Is playing the wedding march
Two fields away,
And squirrels are already leaping in ecstasy
Among leaf-full branches.

Ah yes, we’ve had more than our fill of ecstatic squirrels. For most of the trees, the wedding march is well underway.

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Tolstoy’s Vision of Establishing Dialogue

Vikander and Gleeson as Kitty and Levin in Anna Karenina


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Tuesday

Twice over the past two days have I heard people advising sympathetic listening as response to our polarized times, is to listen. While actual agreement may seem like a distant dream, such listening at least gives us a fighting chance.

Kitty gives Levin advice along these lines in Anna Karenina, which I’m currently rereading, and it makes a difference.

In our church’s recent Sunday Forum, two members of the Beloved Community Commission, Nancy Cason and Kate Kesse, discussed how churches can play a role in advancing racial and economic equity for marginalized populations. The organization derives its name from Martin Luther King’s vision that the “aftermath of nonviolence is the creation of the beloved community,” and we were advised that entering into someone else’s vision of the world is often more powerful than attempting to fix things or play Lady Bountiful. Only after such a relationship is established is further progress possible.

I heard something similar in a Carleton College zoom session yesterday on “Truth, Education, and Democracy.” Carleton Professors Sindy L. Fleming and Chico Zimmerman, along with two of their students, talked about a course they teach on “Civil Discourse in a Troubled Age.” Their aim is to move past discussion and debate to genuine dialogue, and to my question, “How do you engage people in dialogue who don’t want dialogue,” Zimmerman talked about the power of sympathetic listening. Reaffirming this approach, one of the students, who has engaged in voter registration, mentioned the power of such listening when he knocked on doors. Even when encountering strong anti-abortion positions, he said, he felt he made headway by asking questions and hearing what people had to say.

The judgmental Levin hears something similar from Kitty in the blissful moment after he learns that she loves him. Talking of one of the guests at a gathering they are attending, there’s this interchange, starting with Kitty:

“And I see you think he’s a horrid man?”

“Not horrid, but nothing in him.”

“Oh, you’re wrong! And you must give up thinking so directly!” said Kitty. “I used to have a very poor opinion of him too, but he, he’s an awfully nice and wonderfully good-hearted man. He has a heart of gold.”

“How could you find out what sort of heart he has?”

“We are great friends. I know him very well. Last winter, soon after … you came to see us,” she said, with a guilty and at the same time confiding smile, “all Dolly’s children had scarlet fever, and he happened to come and see her. And only fancy,” she said in a whisper, “he felt so sorry for her that he stayed and began to help her look after the children. Yes, and for three weeks he stopped with them, and looked after the children like a nurse.”

To which there’s this Levin response:

“I’m sorry, I’m sorry, and I’ll never think ill of people again!” he said gaily, genuinely expressing what he felt at the moment.

And, in fact, he puts his new resolution into action immediately:

He did at once, and without the smallest effort, keep the promise he had made her—always to think well of all men, and to like everyone always. The conversation fell on the village commune, in which Pestsov saw a sort of special principle, called by him the “choral” principle. Levin did not agree with Pestsov, nor with his brother, who had a special attitude of his own, both admitting and not admitting the significance of the Russian commune. But he talked to them, simply trying to reconcile and soften their differences. He was not in the least interested in what he said himself, and even less so in what they said; all he wanted was that they and everyone should be happy and contented.

A short time later Kitty asks, “What do they want to argue for? No one ever convinces anyone, you know,” to which Levin replies, “Yes; that’s true; it generally happens that one argues warmly simply because one can’t make out what one’s opponent wants to prove.”

And then there’s this insight:

Levin had often noticed in discussions between the most intelligent people that after enormous efforts, and an enormous expenditure of logical subtleties and words, the disputants finally arrived at being aware that what they had so long been struggling to prove to one another had long ago, from the beginning of the argument, been known to both, but that they liked different things, and would not define what they liked for fear of its being attacked.

When Levin, somewhat imperfectly, attempts to communicate this idea to Kitty, she

knitted her brow, trying to understand. But directly he began to illustrate his meaning, she understood at once.

“I know: one must find out what he is arguing for, what is precious to him, then one can….”

The ellipsis, I assume, indicates something along the lines of “come to a common understanding.”

While the Levin-Kitty marriage is a happy one, they of course have quarrels, including one involving a guest who flirts with her. What ensues is a mistaken assumption such as we see often in our own politics: sometimes when we see people demonizing others, it is because they are imagining things that those others are thinking and lash out in anger. Think about this dynamic as you read the following scene, where Kitty blushes in shame and embarrassment because Veslovsky is making love to her while Levin interprets the blush to mean that she is actually in love with him:

His jealousy had in these few moments, especially at the flush that had overspread her cheeks while she was talking to Veslovsky, gone far indeed. Now as he heard her words, he construed them in his own fashion. Strange as it was to him afterwards to recall it, it seemed to him at the moment clear that in asking whether he was going shooting, all she cared to know was whether he would give that pleasure to Vassenka Veslovsky, with whom, as he fancied, she was in love.

Levin turns cold, Kitty is hurt, and there are some agonizing moments. Fortunately, they are able to communicate and come to an understanding.

Communication is key for us as well. Unfortunately social media, Carleton professor Zimmerman noted, does not encourage common understanding. Indeed, flash emotional responses can foster just the opposite. Both he in his course and the Better Community project are attempting to establish something better. The very survival of our democracy hinges on such projects.

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Welcoming in May with a Dance

May dancing in Tess of the d’Urbervilles

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Monday – May Day

As today is May Day, I share some literary instances of mayday dancing. Such dancing, when connected with a maypole (so my internet research informs me), “is believed to have started in Roman Britain around 2,000 years ago, when soldiers celebrated the arrival of spring by dancing around decorated trees thanking their goddess Flora.”

Nathaniel Hawthorne features maypole dancing in “The Maypole of Merry Mount,” although in his case the tradition has lost its seasonal significance as the decadent revelers dance around the maypole throughout the year. It has degenerated into no more than an excuse to party.

This is not the case with Thomas Hardy, who uses the holiday to connect his rural characters with ancient Cerelean festivals—which is to say, rituals connected with fertility deities. In Tess of the d’Urbervilles, the dancers are all women:

The banded ones were all dressed in white gowns a gay survival from Old-Style days, when cheerfulness and Maytime were synonyms days before the habit of taking long views had reduced emotions to a monotonous average. Their first exhibition of themselves was in a processional march of two and two round the parish.

In addition to the white frocks, Hardy tells us the dancers carry willow wands, images of fertility:

[E]very woman and girl carried in her right hand a peeled willow-wand, and in her left a bunch of white flowers. The peeling of the former, and the selection of the latter, had been an operation of personal care.

In Return of the Native, men join the festivities:

A whole village-full of sensuous emotion, scattered abroad all the year long, surged here in a focus for an hour. The forty hearts of those waving couples were beating as they had not done since, twelve months before, they had come together in similar jollity. For the time paganism was revived in their hearts, the pride of life was all in all, and they adored none other than themselves.

Hardy describes the phallic maypole in detail:

The pole lay with one end supported on a trestle, and women were engaged in wreathing it from the top downwards with wild flowers. The instincts of merry England lingered on here with exceptional vitality, and the symbolic customs which tradition has attached to each season of the year were yet a reality on Egdon. Indeed, the impulses of all such outlandish hamlets are pagan still—in these spots homage to nature, self-adoration, frantic gaieties, fragments of Teutonic rites to divinities whose names are forgotten, seem in some way or other to have survived mediæval doctrine.

The townsfolk witness the result of the May Day festivities the following morning:

 [T]here stood the Maypole in the middle of the green, its top cutting into the sky. It had sprung up in the night, or rather early morning, like Jack’s beanstalk. She opened the casement to get a better view of the garlands and posies that adorned it. The sweet perfume of the flowers had already spread into the surrounding air, which, being free from every taint, conducted to her lips a full measure of the fragrance received from the spire of blossom in its midst. At the top of the pole were crossed hoops decked with small flowers; beneath these came a milk-white zone of Maybloom; then a zone of bluebells, then of cowslips, then of lilacs, then of ragged-robins, daffodils, and so on, till the lowest stage was reached. Thomasin noticed all these, and was delighted that the May revel was to be so near.

The purpose of the holiday is to connect with your natural roots. As you can’t do so if you fail to give yourself over fully to the earth’s natural forces, step outside and give it a whirl.

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