Our Guide: The Light that Burns Within

St. John of the Cross

Spiritual Sunday

I know it’s rather late in life, but I’m finally dipping my toes in the poetry of St. John of the Cross, the Spanish mystic famous for “the dark night of the soul.” It is in our darkest moments, spiritual guides tell us, that we find ourselves able to shed distractions find our way to God. Old identities are annihilated to make way for new.

John may have composed “On a Dark Night” when he was being imprisoned and tortured for his efforts to reform the Carmelite order. Although there’s no reference to literal imprisonment in the poem, John describes finding a secret ladder, down which he climbs disguised. His only light is “the light that burned in my heart.”

But because it leads him to reunite with Christ the beloved—the imagery appears to be taken from The Song of Solomon—the night becomes “more welcome than dawn”:

On a dark night
By St. John of the Cross
Trans. By Ken Krabbenhoft

On a dark night,
afflicted and aflame with love,
O joyful chance!,
I went out unnoticed,
my house lying silent at last.

In darkness and secure,
down the secret ladder, disguised,
O joyful chance!,
in darkness, and shielded,
my house lying silent at last,

one joyful night,
in secret: no one was watching
and I saw no other thing,
my only light and guide
the light that burned in my heart.

That same light led me
more surely than the noonday sun
to where one was waiting,
the one I knew would come,
where surely no one would find us.

O you my guide, the night,
O night more welcome than dawn,
night that drew together
the loved one and the lover,
each transformed into the other!

On my blossoming breast,
kept untouched for him alone,
there he fell asleep,
and I caressed him
while boughs of cedar stirred the air.

On the ramparts
while I sat ruffling his hair,
the air struck my neck
with its gentle hand,
leaving my senses suspended.

I stayed; I surrendered,
resting my face on my Beloved.
Nothing mattered.
I left my cares
forgotten among the lilies.

I love the tenderness of the imagery and am also struck by the unexpected reversal: the speaker is comforting Christ, not (as is customary) the other way around. Ultimately, however, there is no difference between the loved one and the lover. It is as though, in rendering himself vulnerable, Jesus is providing the speaker with the comfort that comes in comforting.

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Merrick Garland as Birnam Wood

Malcolm prepares Birnam Wood attack against Macbeth

Friday

There’s been a Macbeth sighting in the public news recently. Reporting on the FBI descending upon Donald Trump’s Mar-a-Lago residence to seize illegally pilfered documents—a story that gets more interesting by the hour—former special agent for the FBI and now Yale lecturer Asha Ramgappa said that Attorney General Merrick Garland was employing a Birnam Wood approach. My instant response: “That’s really cool!”

It’s a perfectly applied allusion. Macbeth believes he will never have to account for his crimes because a supernatural apparition, conjured up by the witches, has informed him of the following:

Be lion-mettled, proud; and take no care
Who chafes, who frets, or where conspirers are:
Macbeth shall never vanquish’d be until
Great Birnam wood to high Dunsinane hill
Shall come against him.

Macbeth feels as invulnerable to accountability as Trump, After all,  

Who can impress the forest, bid the tree
Unfix his earth-bound root?

Meanwhile Malcolm, like the FBI, is plotting his stealth attack—although the FBI at least let Trump’s Secret Service detail that it was coming (not to mention sending an earlier subpoena). Nevertheless, stealth from better than a full frontal assault, and stealth has been Garland’s M.O. He aims to catch Trump off guard:

Let every soldier hew him down a bough
And bear’t before him: thereby shall we shadow
The numbers of our host and make discovery
Err in report of us.

When Birnam Wood begins to move, Macbeth goes into the same kind of denial we are seeing from Trump and his faithful followers. They just want to hear good news, not the truth. Although to their credit, they probably won’t hang truthtellers from trees until they starve to death:

Messenger
As I did stand my watch upon the hill,
I look’d toward Birnam, and anon, methought,
The wood began to move.
MACBETH
Liar and slave!
Messenger
Let me endure your wrath, if’t be not so:
Within this three mile may you see it coming;
I say, a moving grove.
MACBETH
If thou speak’st false,
Upon the next tree shall thou hang alive
Till famine cling thee.

I’ve compared Trump to Macbeth multiple times (for instance, here), but I haven’t focused on who or what would take him down. The unassuming Garland, who resembles the unassuming Malcolm, works for me.

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School in August?! Blake Appalled

Edward Henry Potthast, Children Playing at the Seashore

Thursday

My four Georgia grandchildren began school this week, which for much of the world sounds outlandish. Who outside of the United States starts school in the heart of the summer?

William Blake would certainly disapprove. Check out his “School Boy”:

I love to rise in a summer morn,
When the birds sing on every tree;
The distant huntsman winds his horn,
And the skylark sings with me.
O! what sweet company.

But to go to school in a summer morn
O: it drives all joy away;
Under a cruel eye outworn.
The little ones spend the day.
In sighing and dismay.

Ah! then at times I drooping sit.
And spend many an anxious hour.
Nor in my book can I take delight,
Nor sit in learnings bower.
Worn thro’ with the dreary shower.

How can the bird that is born for joy,
Sit in a cage and sing.
How can a child, when fears annoy,
But droop his tender wing.
And forget his youthful spring.

O! father & mother if buds are nipped,
And blossoms blown away.
And if the tender plants are stripped
Of their joy in the springing day,
By sorrow and cares dismay.

How shall the summer arise in joy
Or the summer fruits appear,
Or how shall we gather what griefs destroy
Or bless the mellowing year.
When the blasts of winter appear.

This isn’t Blake’s only poem involking the tragedy of birds in cages. In “Auguries of Innocence,” which is a set of Blakean proverbs, he writes,

A Robin Redbreast in a Cage
Puts all Heaven in a Rage.
A dove house fill’d with doves and pigeons
Shudders Hell thro’ all its regions.

Blighted minds, Blake fears, will grow up to become blasted adults. Best to have children sing with the summer skylark.

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The Suggestiveness of Peaches

Wednesday

Periodically I share comic tweets from my youngest son’s twitter feed because I find them to be hilarious. The above image is Toby repurposing an image (or meme) that has been bouncing around the twitterverse. If you don’t pick up on the literary allusions, I explain them below.

In posting it, I’ve given you the punchline without the set-up. Since the joke in such twitter humor lies in how successfully one hijacks the original image for one’s own purposes, here’s the original image so that you can compare:

The original drew a lot of twitter criticism because it trades in stale gender stereotypes of women caring for others and men caring only for themselves. Furthermore, the cartoonist’s sense of women’s moral superiority rubbed a number of readers, not only men, the wrong way. The two figures have essentially been reduced to caricatures.

Toby’s repurposing not only makes the cartoon funnier—at least for literature nerds—but more complex. The woman’s new response (as I’m sure many of you know) references Christina Rossetti’s Goblin Market, the man’s T.S. Eliot’s Love Song of J. Alfred Prufrock.

Rossetti’s poem is a wild phantasmagoria involving forbidden fruit, which is a stand-in for (I simplify here) casting off all sexual restraint. Its fairy tale mysteriousness makes it one of my all-time favorite poems. Here’s are “the goblin men” tempting Laura and her sister:

Morning and evening
Maids heard the goblins cry:
“Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpecked cherries
Melons and raspberries,
Bloom-down-cheeked peaches,
Swart-headed mulberries,
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,
Apricots, strawberries–
All ripe together
In summer weather—

Laura gives in to temptation, buys, indulges, and then loses all joy in life. Fortunately, her sister—who heroically resists goblin temptation—sacrifices herself, thereby saving Laura. The poem is a rich exploration of sexual repression and sublimation.

In Eliot’s poem, meanwhile, the socially insecure and uptight Prufrock, attempting always to be perfectly proper, occasionally imagines (but does no more than imagine) taking a daring action. One of these actions involves eating a peach:

Shall I part my hair behind?   Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

I do not think that they will sing to me.

Apparently parting his hair behind in the bohemian style and walking casually and freely upon the beach (in flannel trousers, no less!) are fairly daring for Prufrock, who normally dresses in the height of fashion. (Example: “My morning coat, my collar mounting firmly to the chin, /My necktie rich and modest, but asserted by a simple pin.”) Eating a peach, especially given Rossetti’s poem, hints at sensuality. Might he too shake off all restraint and, like Laura, indulge his repressed desires?

But no sooner has Prufrock mentioned stepping outside his comfort zone than, like earlier in the poem, he retreats back into it. Victorian sexual repression appears to be alive and well in Eliot’s 1915 poem. No sensual encounters with mermaids for him.

So look how Toby’s repurposing has made the original cartoon more interesting. Rather than a woman boasting her moral superiority over her selfish husband, we have a couple each wrestling with marital frustrations in very human ways. Both appear to worry that aging is robbing them of their youthful vitality and imagine doing something wild and forbidden. Perhaps each is contemplating an affair.

Perhaps they’ll never act upon their fantasies but instead, in Thoreau’s phrase, continue to live lives of quiet desperation. In any case, a peach is operating very much as it does in both Rossetti’s and Eliot’s poem, triggering thoughts that otherwise lie hidden beneath the surface. The woman may not be as different from her husband as she thinks.

Suddenly we have the kind of drama that D. H. Lawrence famously takes on, say in Lady Chatterley’s Lover. Li-Young Lee’s seasonally appropriate “From Blossoms,” which owes a lot to Rossetti (and to Mary Oliver as well) also comes to mind:

From blossoms comes
this brown paper bag of peaches
we bought from the boy
at the bend in the road where we turned toward   
signs painted Peaches.

From laden boughs, from hands,
from sweet fellowship in the bins,
comes nectar at the roadside, succulent
peaches we devour, dusty skin and all,
comes the familiar dust of summer, dust we eat.

O, to take what we love inside,
to carry within us an orchard, to eat
not only the skin, but the shade,
not only the sugar, but the days, to hold
the fruit in our hands, adore it, then bite into   
the round jubilance of peach.

There are days we live
as if death were nowhere
in the background; from joy
to joy to joy, from wing to wing,
from blossom to blossom to
impossible blossom, to sweet impossible blossom.

There are few taste sensations more delectable than a fresh peach from Georgia, Toby’s home state. If you come across one, dare to eat it.

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The Ballad of Bathtub Gin

Antti Faven, Moonshiners

Tuesday

The post I was writing for today has fallen apart rather late in the day so, as a last minute measure, I share a very witty parody—written by my father—of Rudyard Kipling’s “Gunga Din.”

The original poem, while it has a wonderful rhythm, is somewhat problematic. It’s about a British soldier realizing, somewhat patronizingly and sentimentally, that the regimental water boy is a worthy man in his own right. You can read the whole poem at Poetry Foundation but here’s enough of it to set up the parody:

You may talk o’ gin and beer   
When you’re quartered safe out ’ere,   
An’ you’re sent to penny-fights an’ Aldershot it;
But when it comes to slaughter   
You will do your work on water,
An’ you’ll lick the bloomin’ boots of ’im that’s got it.   
Now in Injia’s sunny clime,   
Where I used to spend my time   
A-servin’ of ’Er Majesty the Queen,   
Of all them blackfaced crew   
The finest man I knew
Was our regimental bhisti, Gunga Din,   
    He was ‘Din! Din! Din!
‘You limpin’ lump o’ brick-dust, Gunga Din!
     ‘Hi! Slippy hitherao
      ‘Water, get it! Panee lao,
‘You squidgy-nosed old idol, Gunga Din.’

And here’s the last stanza, where Gunga Din is killed while bringing water to the speaker, who has himself been shot:

E carried me away
To where a dooli lay,
An’ a bullet come an’ drilled the beggar clean.   
’E put me safe inside,
An’ just before ’e died,
‘I ’ope you liked your drink,’ sez Gunga Din.   
So I’ll meet ’im later on
At the place where ’e is gone—
Where it’s always double drill and no canteen.   
’E’ll be squattin’ on the coals
Givin’ drink to poor damned souls,
An’ I’ll get a swig in hell from Gunga Din!   
      Yes, Din! Din! Din!
You Lazarushian-leather Gunga Din!   
   Though I’ve belted you and flayed you,   
      By the livin’ Gawd that made you,
You’re a better man than I am, Gunga Din!

My father’s poem was written in a place and at a time where illegal Appalachian moonshine was the only alcohol one could buy locally, Franklin County, Tennessee being a dry county in the 1950s and 1960s. To meet the inevitable demand, some converted their bathtubs into stills, just as today the same kinds of people have turned their bathtubs into meth factories. Here’s the poem:

The Ballad of Bathtub Gin
By Scott Bates

You may talk of Scotch an Rye
When you’re drink’ on the sly
An’ you feel you ain’t got nothin’ much to lose;
But when it comes to liquor
You’ll never get there quicker
Than on good ol’-fashioned rotgut, homemade booze!

Now in Frisco’s foggy clime
Where I used to spend my time
Indulgin’ in the gentle arts of sin,
Of all the local brew
The most potent stuff I knew
Was that belly-bustin’ beverage, bathtub gin!

Refrain
It was gin! gin! gin!
You super-saturated Mickey Finn!
Hey, gimme another slug!
Wipe the sawdust off the plug!
Takes the ring right off the bathtub, bathtub gin!

But they carried me away
To where a jacket lay,
A double-vested job with strings to lace ’er;
An’ when they got me tied
I ’eard ’em say aside,
“ ‘E should’ve taken Draino for a chaser!”

So now I’m getting’ bored
In the Alcoholic Ward
An’ I’m getting’ tired o’ watchin’ my D.T.’s;
But when they treats me rude
I just dreams o’ getting’ stewed,
An’ they can give me trouble all they please!

So it’s gin! gin! gin!
Though they put me in this moldy storage bin,
I know that when I die,
I’ll be really ridin’ high
’Cause I’ll get a swig in Hell of bathtub gin!

–Yes, it’s gin! gin! gin!
What a pandemonic pickle I’ll be in!
By the devils that distill you
And the poor damned souls that swill you,
You’re the hottest hooch in Hades, bathtub gin!

Did you have fun? I pick up some rebellion in the poem: my father came from a teetotalling family—his grandfather moved to Evanston, IL because it was home to the national headquarters of the Women’s Christian Temperance Union—and the most I ever saw my grandmother stray was a dash of brandy in the Christmas pudding once a year. They were scandalized when my father, their darling youngest son, returned from World War II drinking, smoking and (maybe worst of all) having voted for Roosevelt.

I’m not sure why my father sets the poem in San Francisco—maybe because it scans better—since the fog he refers to applies equally well to Sewanee, Tennessee. In any event, moonshiners were local celebrities when I was growing up.

Not that my father partook. The stuff, after all, could render one blind. He drove to Chattanooga to get the beer and wine, which was all he ever drank. In his poem, however, he gets into the spirit of the illicit manufacture of “good ol’ fashioned rotgut, homemade booze.”

Further note: Franklin County is no longer dry so now enterprising souls have switched from moonshine to the far more harmful meth. In fact, we are now known as “Meth Mountain,” and a dentist friend, who runs a free dental clinic on Tuesdays, says he spends pretty much all his time pulling meth teeth.

Yikes, that’s a downer way to end today’s post.

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Loving Lit, the Road to Well-Being

William Worcester Churchill, Woman Reading on a Settee

Monday

I’ve been listening to Amor Towles’s novel Rules of Civility, which has a protagonist that is an enthusiastic novel reader. I share today Katie comparing Dickens to a morning cup of coffee. The passage is set up by an account of what that first cup meant to her father, who is reminiscing on his deathbed:

Whatever setbacks he had faced in his life, he said, however daunting or dispiriting the unfolding events, he always knew that he would make it through, as long as when he woke in the morning he was looking forward to his first cup of coffee.

“Only decades later,” Katie says, “would I realize that he had been giving me a piece of advice.” Here’s her explanation:

Uncompromising purpose and the search for eternal truth have an unquestionable sex appeal for the young and high-minded; but when a person loses the ability to take pleasure in the mundane—in the cigarette on the stoop or the gingersnap in the bath—she has probably put herself in unnecessary danger. What my father was trying to tell me, as he neared the conclusion of his own course, was that this risk should not be treated lightly: One must be prepared to fight for one’s simple pleasures and to defend them against elegance and erudition and all manner of glamorous enticements.

Then we get to Dickens:

In retrospect, my cup of coffee has been the works of Charles Dickens. Admittedly there’s something a little annoying about all those plucky underprivileged kids and the aptly named agents of villainy. But I’ve come to realize that however blue my circumstances, if after finishing a chapter of a Dickens novel I feel a miss-my-stop-on-the-train sort of compulsion to read on, then everything is probably going to be just fine.

The day that lit stops giving me that special jolt will probably be the day I’m ready to pack it in.

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Jesus: Like a Sage Resolved to His End

Leonardo da Vinci, The Last Supper

 Spiritual Sunday

In 1904 the great mystical poet Rainer Maria Rilke wrote “The Last Supper” after seeing Leonardo da Vinci’s painting. I like how he helps me see the picture anew: Rilke contrasts the grounded Jesus (“like a sage resolved to his end”) with the worried disciples (“they flutter anxious”) but also notes how alone he feels.

The disciples are understandably concerned about the news he brings them. In Rilke’s analogy, he has delivered a shotgun blast into their midst and they, like frightened birds, flutter anxiously around as they “try to find a way out.”

But there is no way out. Jesus is “everywhere like a twilight-hour” with night coming on inexorably. Fortunately, after night, the dawn.

The Last Supper
By Rainer Maria Rilke

They are gathered, astounded and disturbed
round him who, like a sage resolved to his end,
takes himself away from those he belonged to,
and who alien past them flows.
The only loneliness comes over him
that reared him to the doing of his deep acts;
now again will he wander through the olive grove,
and those who love him will take flight before him.

He has summoned them to the last supper
and (as a shot scatter birds out of the sheaves)
he scatters their hands from among the loaves
with his word: they fly across to him;
they flutter anxious through the table’s round
and try to find a way out. But he
is everywhere like a twilight-hour.

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Methought I Saw My Dead Son

Mihály Munkácsy, Milton Dictating Paradise Lost to His Daughters

Friday

I report today on a vivid dream that visited me Wednesday night. In it, I was working my way up an icy hill to retrieve my son Toby, who in the dream was a child visiting friends (he’s now an adult). When I got to the house late, I saw that he was sleeping in the hallway, but he awoke when I entered and gave me a joyous smile. The reason: lying next to him, also asleep, was his beloved older brother Justin, who died 22 years ago.

Then Justin too awoke and smiled his characteristic smile. Tall and lanky with blond hair that flopped over his eyes, he assured me he was back when I told him, “I thought we’d lost you.” As I knelt to hug him, however, I woke up.

I haven’t cried about Justin in two decades but, after telling Julia about the dream, I cried. I also recalled John Milton’s “Sonnet 23,” where he describes a similar dream.

In Milton’s case, he is dreaming of Katherine Woodcock, his second wife who died from childbirth complications after they had been married for only two years. Invoking the story of Heracles (“Jove’s great son”) journeying to Hades to rescue Admetus’s wife Alcestis, Milton says that, for a moment, he thought that Woodcock had been similarly restored to him. Although “her face was veiled,” Milton writes,

                                  yet to my fancied sight
Love, sweetness, goodness in her person shined
So clear, as in no face with more delight.

That’s how it was with Justin as well. In his expression, I read pure delight. He always was an expressive child, and in my dream good humor radiated off of him.

And then, like Milton in the poem, I woke up:

But O, as to embrace me she inclined,
I waked, she fled, and day brought back my night.

“Night” works double here as Milton was blind by this time. In fact, he never physically saw his wife. But he saw her in his dream—in darkness—before awaking to what for him was eternal night:

Methought I saw my late espoused Saint
Brought to me like Alcestis from the grave,
Whom Jove’s great son to her glad husband gave,
Rescued from death by force though pale and faint.
Mine as whom washed from spot of childbed taint
Purification in the old law did save,
And such as yet once more I trust to have
Full sight of her in heaven without restraint,
Came vested all in white, pure as her mind:
Her face was veiled, yet to my fancied sight
Love, sweetness, goodness in her person shined
So clear, as in no face with more delight.
But O, as to embrace me she inclined,
I waked, she fled, and day brought back my night.

I find myself wondering whether this dream has been triggered by grief for my recently departed mother. She adored Justin (and he her) and, as I was talking to her in her final hours, I told her that she’d be seeing Justin soon. Maybe the dream was to reassure me that I wasn’t feeding her an empty wish fulfillment.

Sometimes poetry’s gift to us is letting us know that others have felt what we are feeling and experienced what we are experiencing. I certainly found that to be true after Justin died, when I was comforted by the fact (so poems like Mary Oliver’s “Lost Children” and Tennyson’s “In Memoriam” let me know) that I was not alone in my suffering. Milton’s ability to articulate his heartbreak and to find beauty in the midst of it cushions the rest of us.

Poetry, in short, helps us through unbearable pain.

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A Murakami Villain Surfaces in Ukraine

Russian aftermath in Ukraine

Thursday

As news out of Ukraine continues to give us gruesome tales of Russian torture, shelling of civilian areas, and wholesale slaughter of prisoners and villagers, one of the most graphic literary images I’ve ever encountered comes to mind: a Russian army officer ordering a prisoner skinned alive to get him to talk. We encounter “Boris the Manskinner” in Haruki Murakami’s novel The Wind-Up Bird Chronicle.

Boris explains the origins of his tactics to the Japanese prisoners he has captured in the latter days of World War II. He blames it all on the Mongolians:

They love to kill people in ways that involve great difficulty and imagination. They are, shall we say, aficionados. Since the days of Genghis Khan, the Mongols have enjoyed devising particularly ruel ways to kill people. We Russians are painfully aware of this. It is part of our history lessons in school. We study what the Mongols did when they invaded Russia. They killed millions. For no reason at all.

Except there is a reason, as he goes on to explain. They do it because they enjoy it. And because no one in command tells them not to.

Which sounds like the situation in Ukraine. The Russians aren’t committing war crimes as an intimidation tactic. They’re doing so because they can.

According to Australian general Mick Ryan, whose analysis on Ukraine I’ve been following, armies that commit war crimes to this extent are, barring other factors, generally headed for defeat. Such behavior points to a lack of the discipline needed to carry out effective military operations. In a series of tweets Ryan observes,

[T]his behavior by the Russian soldiers is further evidence (as if we needed any more) that the Russian Army is professionally corrupt & morally bankrupt. The entire Russian Army chain of command, because of the leadership environment they have nurtured, is responsible.

An army that either explicitly (or implicitly) permits such behavior will never be capable of fighting as an effective and cohesive force. Wars still have rules. An army that operates with an ‘anything goes’ ethos is just not an army. It is an armed group of criminals.

This is why, Ryan goes on to say, “the study of the profession of arms, ethics, and the profound responsibility of exercising lethal force on behalf of one’s nation, is such an important area of study and indoctrination in military institutions.”

Such reasoning leads Ryan to inveigh also against “rough justice and retribution.” The courts, not vengeful Ukrainians, must decide the fate of Russians who commit war crimes. “These murderous scumbags,” he writes, “must be tried and made an example of, so that others know we will never allow them to get away with it.”

Ryan concludes with an important reminder:

Remember, there is a reason Ukraine is fighting for its sovereignty, and why we are supporting it. They are fighting for their existence, and for a world where such acts are not permitted nor tolerated.

In the novel, Boris loses touch with reality when he tortures the innocent son of a high Community Party official. Stalin’s forces, in other words, turn on themselves because thuggish behavior is calling the shots. While the fictional Boris himself escapes, the army that Stalin built up—and that Soviet and Russian leaders ever since have boasted of—has been exposed as a hollow shell, full of sound and fury but signifying nothing.

Or as Ryan puts it, “professionally corrupt & morally bankrupt.”

For further reading, check out my post where I compare Vladimir Putin to Boris.

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