Soul Song Sunday: These Waters

Part of my goal for 2016: Shine, Soul Song Sunday posts will feature some expression of my spiritual thoughts or feelings of late. Poetry, prose, image, quote, or song, these posts will be my imperfect hallelujah, and open prayer.

Tonight I am sharing a poem which was inspired by a few words spoken in church last week, words which caught my ear and grew to something within me. Here is that something.


These Waters

These waters are washing our

homes into the fields and the

fields, the red rocks, the heathered hills

into our homes.

These waters are rising above our

fault-lines and sight-lines and

love-blinds. Our eyes are

turning starward, Godward,

holy silent cries.

Give me stilts to stand on.

Give me cupped hands to bail.

Light the striatious places with un-fleeting light.

Let my child and my neighbor be among the

survivors when

These waters are receding, riven clans and

fractured nations deep in mending pull. And

aired, dried we lie down in the Sun.

Love,

The Blessed Hope of Domesticity...and Benedict Cumberbatch

I have lately been moved by a good deal of poetry. It could be that I'm reading more than my usual ration, what with the whole "English major" and all, but I'd like to think the particular poems which have been thrust via syllabi into my hands are meant, kismetly (no, I did not adverb that word, Kristen Stewart did.), for me. Matthew Arnold (kind of a prick, in my humble opinion, but I like some of his postulations) predicted in his "The Study of Poetry" in 1869 that

More and more mankind will discover that we have to turn to poetry to 

interpret life for us, to console us, to sustain us. Without poetry, our science will 

appear incomplete; and most of what now passes with us for religion and philosophy

will be replaced by poetry.

I don't know about replacement, strictly speaking, but I think Mr. Arnold is right in his forecast of humankind's increasing reach for truth and meaning and the increasing succor found in the carefully chosen, evocative words of poesy. There is something intuitively soul-searching about poets, something naked and raw and universally familiar about their successful work; something Alice Notley would affectionately call disobedience--the refusal to meet expectations or follow forms, but a commitment to portray truths only the artist knows. The beauty in this disobedience, I find, is that it turns out the readers (at least some of them) know these same truths as well, and the poem then becomes "obedient," if you will, to the common threads of human experience.

I love every moment I get to spend expanding my learning and every thought I am blessed to explore, but this is all so very much to think about, and there is within me so very very much to write. Some nights, after my little ones are in bed, and my head is swimming with the words of Gerard Manley Hopkins, Thomas Hardy, Elizabeth Bishop and Allen Ginsberg, and I'm trying to finish listening to the audio recording of Heart of Darkness without retching, solidify a thesis for my "Darkling Thrush"/ "Carrion Comfort" essay, and decide if my MFA emphasis should be poetry or fiction (yep--that decision is already stressing me), I find I am in need of some simple ground to stand on. I think of that thrush, Hardy's thrush--my favorite bird amongst the many poetically present in the works of those fun-loving Romantic and Victorian Brits--and the "blessed hope" trembling through "his happy good-night air." A hope whereof the poem's speaker claims to be "unaware," but, I think, if he were really as unaware and as despairing as he would like to be, he wouldn't hear it at all. And my "blessed hope," my simple ground to stand on, if that makes any sense at all, becomes domesticity. I clear my head and regain my focus by doing something, anything, of the homemaking variety for the benefit of my family.

This is my truth: one of the comments I most often receive on my writing is that it has a certain domestic feel. Often, that's unintentional. It's just there because it's me on the page and that's who I am. If I feel like my children are washed and nurtured, food is prepared, clothes are clean and mended, activities are planned and packed for, I can put my mind to the task of learning and analyzing, absorbing and creating with clarity and care. So yes, folding laundry helps me see the themes of feminism in Tennyson. Filling the freezer with homemade burritos and the pantry with trail-mix snack bags gets me thinking on experimental syntax. And sometimes, not thinking about anything literary at all but instead watching Sherlock (*sigh* Benedict Cumberbatch) while putting away the dishes or sorting the coat closet gives my brain just enough of a breather to help me make decent comments in class discussions the next day. (Okay, lie. Sherlock actually can't  be watched without literary thoughts crossing the brain. The revival of a classic! The modern take! The narrative! The allusions!)

A list, if anyone's interested, of the recently read poems that speak to me:

One Art by Elizabeth Bishop
Carrion Comfort by Gerard Manley Hopkins
Sections 50, 54, and 55 of Alfred, Lord Tennyson's In Memoriam
Lines 470-481 of Elizabeth Barrett Browning's Aurora Leigh
Ode to A Nightingale by John Keats (Cumberbatch bonus!)
Her Kind by Anne Sexton

Others, I confess, have been my own, and I'm not *quite* ready to share. The small happiness I have in feasting on them is, for now, just mine.

What is your truth? Where do you see it in art? In life?

xo

Lorrie, Joanna, and Me

In accordance with the pledge I made in, er, November, to share my writing more regularly (actually I think I said "daily" and then begged for reinforcements of flattery), here are a couple of pieces which have come out of my recent poetry and creative writing workshops. Open to critique.

In this class exercise the idea was five minutes to write a scene in which infidelity is revealed, using the style of an author we had recently read. I chose Lorrie Moore. 

She is in the middle of apologizing to him for the bruise on his face,  a by-product of last night's vivid storytelling gesticulations, when he tells her he's been sleeping with his secretary. The air immediately surrounding her head reverberates with the echoes of a half-million decent screenwriters cringing at once. She drops her coffe cup. 

Here is the picture: white sofa, silver chair, basket of oranges on the dark wood table, morning sun, curtains half-drawn, coffee--two sugars no cream--on the carpet. She is standing. He is sitting. Somewhere, Woody Allen strikes a typewriter key and changes her fate. 

This poem draft is the result of an exercise in which each class member selected words, lines, or phrases at random from another poet's published work, then altered, arranged, and added to those lines to create a poem. So I can claim the beauty in arrangement here, but the majority of the words belong to Joanna Klink. 

Beyond the crumbling walls,

Pale pink as the daylight, 

A woman sifts through paper.

Barely perceptible, she becomes forceless. 

Close to animal, the man understands very little.

He forgets her. 

I can think of three ways frost burns, 

But reason wilts like other things. 

The woman dips her hands into the river,

Gratified to think no one has noticed her. 

But we are here, 

Beyond the crumbling walls,

The man and I.