Category Archives: A prose flourish

“Flatliners” and Larry Dossey’s “Healing Words”–My occasional confrontations with the hinterlands of science and belief

Have you ever been in need of a sort of “spring tonic” for what we call, for lack of a better word, the soul (but I’m almost sure you have, who hasn’t?)?  Of course, we don’t all call it “the soul,” some of us call it “being in need of a personality overhaul,” others of us call it “a desire to take up a new hobby of some kind,” “being depressed for no particular reason,” “feeling under a curse,” “wanting psychotherapy,” “feeling lost,” etc.  This state I’m speaking of can take place in the comparative absence of anything objectively wrong in one’s life, so that it may happen in a condition of extremity in general or just when suddenly for no particular reason one feels deeply out of sorts.  It may also happen for specific reasons of an emotional or spiritual nature that we have long ago despaired of having any control over.  And when it happens, it happens just as often unpredictably as it does when we expect it to happen, and for differing spans of time, both long and short.  My own condition of “soul-lethargy” goes back in time for several years, but it hasn’t been uninterrupted by better times.  In fact, during the last few years of finishing up my thesis and getting my doctoral degree (in 2012), it was noticeably absent, but returned intermittently when I no longer had that particular kind of energy occupying my time.  Every time I work well on my novel(s), it goes away for a little while, until I once again hit a snag.  It’s easy to get dragged under by a sense of sterility sometimes, especially when work isn’t going well, someone is sick (either I or someone close to me), when I am too busy with work-a-day affairs and don’t have the time to assess things properly–in short, this condition is a sort of lack of attention to my inner being which may come about for a variety of reasons.  If left alone long enough, it can cause a sort of “soul sickness,” not the same as something mental or emotional, I don’t think, but feeling just as debilitating if not more.  And it’s sometimes accompanied by very unpleasant side effects.

For example, one of the most frequently occurring negative evidences these days is a hypnagogic nightmare of a sort of black tangle of bad energy hovering on or in or near me as I struggle back into wakefulness to fight it, an angry, evil non-auditory snarl of sorts, which must be blocked out and done away with by a sort of internal prayer which I have learned to make rise from my consciousness (I know, it sounds loopy), the struggle going on sometimes for several moments, the bad energy making as many as two or three passes in a row.  This is not a mental or a physical event, is not accompanied by a speeded heart rate, or clammy palms, or waking hallucinations of any sort.  In fact, a hypnagogic nightmare occurs when one is in the earliest stages of falling asleep, and can simply wake one back up to deal with some startling effect of consciousness.  The awareness of the “ball of negative energy” as a non-pictorial, non-dramatized (by human dream actors) reality of a stage of sleep is a relatively new thing:  it’s not that I never before in my life had hypnagogic nightmares, but when I was younger, the occasional negative energy most of us at one time or another experience “blamed” itself on someone in particular, had an actual theme and plot and human or other living actors, people I knew, things, events, or animals I was afraid of, etc.  This, I understand, is the more usual pattern.  In a way, though it’s still bad news, it’s better to deal with a disembodied energy than to have to try and figure out later why such and such a person or such and such an event, possibly someone I like or something I enjoy doing, is the confusing source of negativity.  From this you may guess that though I’m an inverterate navel-gazer, I’m trying to break the habit of so much non-productive interiority and go instead for the more productive kind, whatever it may prove to be.

As well, there are times (rarer and rarer lately, but still happening sometimes) when I wake in the middle of the night (not in hypnagogic sleep, but after dreaming REM sleep); just after dreaming that someone is standing by my bed looking down at me, I’m terrified until I turn on the light and sit for about five minutes.  Though I’ve heard it said by others who have this sort of dream that this is in fact a normal and reassuring dream to have, and even that it indicates that someone at a distance may be concerned about you, I’ve so far never gotten over my fear of this kind of dream.  Where is she going with this disquisition on odd and unsettling states of mind, you ask?  I’m not sure that I can make my point well, but I figure it’s better to make the attempt than not to speak of something which I’ve found illuminating and perhaps allow you to share it, so here goes:

By and large, for the preponderance of my life, I have been a sceptic about spiritual beliefs.  I say “spiritual beliefs” rather than “religious beliefs” because I’ve always had a tendency to prefer things messy rather than cut-and-dried and rigid and in a prescribed shape.  People annoy me who believe things easily, or who seem to me too gullible; it’s as my brother often says, I feel no innate sympathy with “Gullible’s Travels.”  Still, there have been times of extremity in my life when I feel, upon looking back on them, that some creative urge has come without warning into my life just when I needed to be shaken up or in some way made to observe something other than whatever I happened to be fixating on at the time, particularly if it was something unhealthy or bad for me.  I wanted today to write about just two of these incidents, a time back in the 1990’s and a time just about a week ago (in both of which cases, however, the malaise preceding the incident of creative activity had gone on for some time).

During the first instance, I was deeply depressed by the bad fortune I’d had in my personal life, and was in an extremely strong funk and was disinclined to be forthcoming to even the most sympathetic friend or relative, most of whom had in any case already heard what I’d had to say and had been encouraging but not effective.  This was fairly usual, because I’ve often found my own personality to be generally intractable to influence once I really decide that I think or feel something strongly.  By chance, I happened to be in a group of strangers one night, and someone suggested watching the latest thriller out, the movie “Flatliners.”  For those who didn’t see this basically negligible thriller, it was about a group of medical students who were curious about the afterlife or the lack thereof, and even more curious about the near-death experiences of some case studies they’d read, in which people basically experienced a moment of death or near-death and then “came back” to life.  All the concerned case studies had apparently reported sightings or experiences of paranormal events or encounters with already deceased friends or relatives, and etc.  The medical students one after the other caused themselves to “flatline” (“die”) while the others stood ready to revive him or her after a given number of seconds.  The movie portrayed the startling experiences of what each encountered, but I believe the climax of the movie occurred when the young experimenters had difficulty reviving one of themselves.  I can’t really recall what happened after that, whether the subject in question lived or died, which may seem odd.  All that stuck in my mind was a strong impression of the basic story line:  even doctors had to admit that there was something beyond their materialistic universe, though no one, least of all I, could say exactly what or draw any solid conclusions from the fictional experiments.  Truth to tell, I’ve always been more impressed with stories and tales than with so-called “facts,” so perhaps it wasn’t a fair test of materialism.

There have been other times when I have needed something from what one could refer to as “the infinite” if one has that inclination (and I can at least tolerate the expression now without a total sneer), and it has stepped up to bat for me, though it’s not a regular occurrence by any means, nor one that I can just hope for and have it happen.  I can’t “deserve” it and make it occur, either.  I am probably the most surprised of all when it does happen, though whom I’m comparing myself to in that assessment, I don’t know.  This is the first time I’ve ever written anything about it, for example.

The other occasion that I found a book (in this case) to be of use (even inchoate, undirected, imprecise use) was a couple of nights ago, when I was in the process of reading Larry Dossey’s book Healing Words.  I can honestly say that I have never before read a book about prayer, have never willingly or deliberately allowed myself to be prayed for, though like everyone else, I’ve had transient moments in the midst of some turmoil or other when I appeal to a force I often profess not to believe very much in with a “Oh, god, let this turn out right!”  The most interesting thing about Dossey’s book to me wasn’t in fact any encouragement to pray or be prayed for, but was his open-mindedness to other states of being than the verifiable, materialistic world of science and medicine which rules so much of the world today.  He has apparently written other books, of which I had never heard, having only happened across this book on a library online website and picked it up sheerly out of a kind of curiosity, sure that I would be annoyed enough to drop it before long (you may recall in this connection that Ralph Waldo Emerson said “The power men have to annoy me I give them by a weak curiosity”).  Instead, I finished the whole book.

Dossey did not become an advocate for any one religious system or belief, and in fact seemed to consider many alternative forms of healing under an umbrella of spiritual endeavor, whether they employed a sense of the named Divine or not.  That was what was so liberating about his book, the mere possibility that there are ways of doing things other than the dose, cut, and sew of conventional medicine, or at least that there exists a serious and valid accompaniment to the usual medical tools at most doctors’ disposal.  The book came in handy for me a night or so ago not in relation to any specific malady I had, but in one of my occasional nightly fights with the hypnagogic nightmare, familiar by now but never gladly tolerated:  I was able to reduce the size of the dark ball of gunk and rid myself of it in fairly quick order, and not because of any proclaimed “power of positive thinking” which had been “proven” to work–Dossey says such beliefs often lead to guilt when employed in this way because people are blamed for not believing enough or being “positive” enough to shake their malaise, whatever it is–but because I had allowed for the possibility in myself that whatever causes the negative energy is within my power to affect to some degree, sometimes.  And more than that, more than just ridding me of an inconvenient nightmare, the openness and simultaneous strenuous examining of the book helped me fight through some waking situations which I’m still engaged with, but which I feel a better hope of affecting positively now.

I’m not saying that I’ll automatically become rich and famous for my fiction, or find a lot of new friends and acquaintances in my daily life who are muy simpatico, or do something, anything, else which causes my life to be distinguished much from other people’s.  But now I feel, due to Dossey’s book in part, that people and their “souls” or “intelligences” or “personalities,” whatever one wants to call them, are what he indicates they are, continuous and not isolated, whole and not separate, and that is a very comforting feeling (or belief, or conviction) to be going on with, for now.

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“Why can’t I do anything right today?”–The curse of spring fever

This morning at 7 I thought I would have an early breakfast and then do something smart, beautiful, or fun.  At first, I had the idea to work on my newest novel, which until about the end of January had been stalled for almost a year.  I suddenly started working on it again then, and have worked on it every day or so ever since.  So, what’s wrong with today?  How is today different?  Dunno.  But I didn’t work on the novel.

Then, I thought that I would watch an opera on Met Opera on Demand on my computer.  But I left it too long to start, and when I calculated how long I had to listen and watch before an important call comes in early tonight, I knew I would get interrupted if I started it, and so bailed on that opportunity as well.

Oh, well, there’s always that computer game I like to play, I thought.  Maybe I should go through the dungeon and defeat a few more monsters and villains.  But frankly, enthusiasm was lacking.  I was bored with the easy battles and didn’t have the interest or energy for the hard ones.  Besides, my characters needed to buy more equipment and change some things, and I was bored with them too.

That eliminated smart, beautiful, and fun.  What was left?  By the time I’d finished lunch, that left doing something by rote just to pass the time.  So, I went for a walk.  And suddenly, I knew what was wrong.  It’s 56 F today, gorgeous sunny weather, and yet another big storm is expected to hit tomorrow (one hopes the last of the season, but then who can tell?).  I had spring fever, as plain as the nose on anybody’s face.  And I still have it.

So, I thought, what can I do until dinner time?  Write a post.  But I just started another book and haven’t had a chance to prepare anything literary yet, so what am I supposed to post about?  What are other people doing?  Are they enjoying the same break from the winter blahs while realizing that it’s short-lived and that snow or at least rain in buckets is back with us tomorrow and Thursday?  And then, I just decided to write about that.  Nothing, really.  Just a post to say “hello readers, I hope you’re reading my site, and won’t mind too much if I cause you to waste a little time today on ‘nothing, really.'”

Or, you can talk to me.  If you’re in a different part of the world, your weather may be different, and instead of trying to last out the tail-end of a miserable winter, you may be whinging and complaining about the last of a hot, arid summer.  Or maybe you’ve already had the rain and snow that was predicted, and are just stepping back in from shovelling out or are wringing out your clothes and taking off soaked galoshes.  Whatever your situation, feel free to drop a line if you want, just to communicate with the great outside world.  That’s all I’m doing today, after all.  And now it’s time for iced coffee, one of the first of the season (we live in hope); ta for now!

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“My trade and my art is living” (Montaigne)–or, Francesco Marciuliano’s “I Could Pee on This (And Other Poems By Cats)”

In my lifetime, though you might not guess it to observe me now, I have had many friends, and many types of friends.  And during my life, I have also known and loved many a cat friend, both my own and other people’s.  So how does it come about only now that I finally happen across this excellent collection of “poems by cats” (sic), and am able to convey my heartfelt appreciation for such a fine and noble effort of “editing” as Francesco Marciuliano has done with the work of his feline artists?  The fact of the matter is, that no one else has thought to seek out the works of cats before now (the small, conveniently gift-packaged size volume only came out in 2012).  Up until now, they have been reduced to the meow, the miaow, the mew, the–but complete the list in your own favorite world language:  the fact of the matter is that they have been short-changed as to their place in the world’s pantheon of poets.  As the flyleaf of the book points out, “All cats are artists, as demonstrated by their abstract hairballs, expertly stripped curtains, and the precise way they arrange themselves on top of your pile of freshly cleaned clothes.”  There is a pdf of the book on Scribd, and I understand from at least one link that the book started as an online venture, and then grew to a full-scale published book, and now there is a second volume out, which I have not yet had the chance to peruse.

In this book, you will find the true meaning of many a thing your cat does and says to you, little though you have previously understood it.  There are even photographs of cats in the brief volume, just to prove that this effort met with their cautious approval (I say cautious, because caution is evident any time a cat chooses to try to communicate with us; he or she is clearly taking a risk with an obtuse listener, the human, who only thinks of owning him or her and doesn’t properly understand the true ownership equation).

This excerpt from the book (the title poem) is published on the Internet on the advertising site:  “Her new sweater doesn’t smell of me/I could pee on that/She’s gone out for the day and left her laptop on the counter/I could pee on that/Her new boyfriend just pushed my head away/I could pee on him/She’s ignoring me ignoring her/ I could pee everywhere/She’s making up for it by putting me on her lap/I could pee on this/I could pee on this”

Or, the more action-packed poem for those who like to hover uncomfortably at the edge of their seats wondering what will happen next:  “Nudge/Nudge nudge nudge/Nudge nudge nudge nudge nudge nudge/Nudge/Your glass just shattered on the floor”

Then again, perhaps a “dawn song” (a medieval form of poetry between two intimates) is more to your taste:  “I lick your nose/I lick your nose again/I drag my claws down your eyelids/Oh, you’re up?  Feed me”

There are other even more ingenious and humorous and heartfelt poems in the volume, but I can’t print them here because they haven’t yet been featured on a totally free site on the Internet, and I not only want to abide by copyright conventions, but also wish to pay proper tribute to this wonderful success at meeting a real need by encouraging you to buy the book, out at Amazon.com and other sites, and in fine bookstores everywhere, for only $12.95 (for all I know, Amazon.com has some used copies for even less, though you would probably not buy those for a gift, but for your own bookshelf).  So, what do you say?  How about a gift package for the next important occasion in a fellow cat lover’s life?  A small basket, a cushion, a few tins of pricey cat food or some expensive cat treats, and this book–even if you yourself are only a cat tolerator, surely you can rise above your odd prejudices and buy this book for a friend.  As the book blurb explains, “You’ll discover why cats do things like sit on your face before the sun comes up, help clean your bedside table with their tail, or confirm that there really are one thousand sheets in a toilet paper roll.”  And for this voyage of knowledge and discovery, you have only to visit online or in person at a bookseller’s.  Can anything be easier or more desirable than that?  Look deeply into the next set of bright cat eyes you happen to meet, and realize that they are only waiting for you to meet them halfway–and then the other half.  Well, what did you expect?  Ancient royalty and modern artistic genius have their privileges.

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“Sentimentality is a failure of feeling,” says Wallace Stevens, and Robert Browning speaks of “Lyric Love, half angel and half bird”–the difference between lyricism and sentimentality

As Wallace Stevens, never sentimental and occasionally even one of the most coldly obfuscational of poets, warned us at the beginning of the twentieth century, when the sentimentality of the Victorian Era was on the wane, “Sentimentality is the failure of feeling.”  No one could doubt that there was intense truth in his poetry and very little false feeling, though just what the poetry is about has often perplexed and frustrated other poets, literary critics, and scholars alike.  And though Robert Browning was a poet of the Victorian Era, and had ups and downs of sentiment himself, that’s not the same as saying that he was sentimental.  The two are different things, sentiment and sentimentality.  As he apostrophized in “The Ring and the Book,” “O Lyric Love, half angel and half bird,/And all a wonder and a wild desire.”  In a sense, the two capitalized words in his long poem are interchangeable, “Lyric Love” and “Love of Lyric.”  Even as long ago as the time of Horace (65-8 B.C.E.), Horace was enthusiastic enough to say in one of his odes, “But if you name me among the lyric bards, I shall strike the stars with my exalted head.”  That image, though comic perhaps to the ironically inclined, is still not guilty of the bathos–false inflated sentiment, unlike the true feeling of pathos–which I have singled out for part of my post topic today.

All of this background fluster and flurry is part of my setting for a discussion of a poem or two by a woman poet (“female” or “feminine” poet are terms of opprobrium to sexist men and terms of reduction to women themselves, used to ducking the charge of being too “gushy” and “touchy-feely” in their poems).  The poet herself is Edna St. Vincent Millay, and she has been charged by some with being a minor poet and participating in the sin (especially to our cynical, hard-minded times) of sentimentality.  But I would like to insist instead that her love poetry is both hard-minded, occasionally quite biting and ironic, and full of genuine feeling.  Her point of view on the question of the charge is quite clear.  As she said in one of her lyrics, entitled “To Those Without Pity,” “Cruel of heart, lay down my song/Your reading eyes have done me wrong./Not for you was the pen bitten,/And the mind wrung, and the song written.”  Note that she calls it a “song,” a synonym in a particular context for the word “lyric.”  There must be something which sings and moves and encourages rhythm in a poem, whether it rhymes or not, whether or not it has meter, and her poetry has all of this.  And often, critics’ objections against what they call “sentimentality” or “bathos” is in actuality an objection to being caused to have feeling themselves, to be drawn to emotion by the skilled words of another.  Love poetry is especially susceptible to this charge, because love is the one subject upon which we all are vulnerable, whatever kind of love it is, the one weakness that few of us can defend against at some time or other of our lives, and the particular thing we like being challenged upon the least, whether someone would say we feel too much or not enough.  Let’s look at one of her shorter lyrics, called “Never May the Fruit Be Plucked”:

“Never, never may the fruit be plucked from the bough/And gathered into barrels./He that would eat of love must eat it where it hangs./Though the branches bend like reeds,/Though the ripe fruit splash in the grass or wrinkle on the tree,/He that would eat of love may bear away with him/Only what his belly can hold,/Nothing in the apron,/Nothing in the pockets./Never, never may the fruit be gathered from the bough/And harvested in barrels./The winter of love is a cellar of empty bins,/In an orchard soft with rot.”

That poem certainly contains a cynical enough view, and yet it is a love poem, and is full of image and feeling and sense and does not force the reader’s head down with overdone emotion.  The feeling communicated is sufficient to the subject itself.

Or this one, a rhyming and more “singing” poem this time, called “The Betrothal”:

“Oh, come, my lad, or go, my lad,/And love me if you like./I shall not hear the door shut/Nor the knocker strike./Oh, bring me gifts or beg me gifts,/And wed me if you will./I’d make a man a good wife,/Sensible and still./And why should I be cold, my lad,/And why should you repine,/Because I love a dark head/That never will be mine?/I might as well be easing you/As lie alone in bed/And waste the night in wanting/A cruel dark head./You might as well be calling yours/What never will be his,/And one of us be happy./There’s few enough as is./”

This poem has an especial effect which I really like, and it’s in the ungrammatical last line.  To be grammatically correct, the expression (referring to people in the plural) should read “There’re few enough as are.”  But by using a colloquial and idiomatic “sting” of a line as the last, which moreover rhymes, a more folkish wisdom emerges from the final portion, and seals off the entire experience of the foregoing lines with an almost gnomic feel.

Probably the most famous poem Millay ever wrote (which has been recorded musically and is reprinted on several sites) is the longer poem “The Ballad of the Harp-Weaver,” which I don’t have space for here today, but which I strongly recommend as a marvelously lovely picture of mother love, full of emotion and caring and none of it false, of a length of about five printed pages, all of which will repay study and attention for their smooth flow and melodic development of the theme of how a child witnesses a parent’s love and concern without always knowing until it’s too late how much that care costs.  The fantasy element that is present from the beginning of the poem makes the life picture broad enough to cover a number of slightly different situations, all of them with the same emotional tenor, proving that certain conditions are worldwide, like impoverishment, generosity, worry, ingenuity, beauty, death, and even magic, of sorts.

Finally, Millay is a veteran composer of the sonnet form, and I would like to add one example of this to my discourse of today.  The sonnet is entitled “When I too long have looked upon your face”:

“When I too long have looked upon your face,/Wherein for me a brightness unobscured/Save by the mists of brightness has its place,/And terrible beauty not to be endured,/I turn away reluctant from your light,/And stand irresolute, a mind undone,/A silly, dazzled thing deprived of sight/From having looked too long upon the sun./Then is my daily life a narrow room/In which a little while, uncertainly,/Surrounded by impenetrable gloom,/Among familiar things grown strange to me/Making my way, I pause, and feel, and hark,/Till I become accustomed to the dark.”

Millay is more modern in many ways than Christina Rossetti, but the domestic and natural imagery, the sometimes fantastic elements as in “The Ballad of the Harp-Weaver,” and her book of poetry for children which is equally important to adults (as with Rossetti’s “Goblin Market”) make her Rossetti’s true inheritor poetically speaking.  Try this experiment:  read a number of Millay’s poems, both the rhyming and the metered and the blank and free verse and then read this famous poem of Rossetti’s, and see, barring a slightly more stiff-upper-lipped emotional resonance in Millay, if you don’t find them very similar in their styles, perhaps their world views, even.  This poem of Rossetti’s is called simply, “Song”:

“When I am dead, my dearest,/Sing no sad songs for me;/Plant thou no roses at my head,/Nor shady cypress tree./Be the green grass above me/With showers and dewdrops wet;/And if thou wilt, remember,/And if thou wilt, forget./I shall not see the shadows,/I shall not feel the rain;/I shall not hear the nightingale/Sing on as if in pain./And dreaming through the twilight/That doth not rise nor set,/Haply I may remember,/And haply may forget.”

Points proven if only in brief, I hope.  In an era in which we have a proliferation of mass literature with plenty of bathos and sentimentality, and a literary fiction pulling hard in the other direction, even to the point of sometimes seeming too callous and unfeeling, perhaps, as Richard Gilbert has recently posted on his site in reference to Wordsworth, we need to return to the middle ground via reading good lyric poetry which, while enshrining feeling in a key and secure spot at its heart, yet fends off the “bad” sentiment or the weak line (the two are often one) by the depth of its reaching into the human experience.

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Three different considerations of the difficulties and goals of one’s life work, one from Browning, two from Yeats….

Having written recently about the intersection of inspiration and technique in one’s art or craft, I come now to three related writings, all poems, about the commingled doings of inspiration, technique, difficulty, success, and of course everyone’s creative bugbear, failure.  Let’s begin with a story told in first person, one of Robert Browning’s famous dramatic monologues.  It’s called “Andrea del Sarto,” and has the subtitle “(called ‘The Faultless Painter’).”  It’s much too long to reproduce here, so I’ll have to content myself with repeating the gist of it and giving you the most important quoted section for my post.  It’s basically an imaginary monologue based upon the life of Andrea del Sarto, an actual painter, who was once a court favorite of King Francis I of France, but who was drawn away from court and from support of his aged parents by his infatuation for his wife Lucrezia, who was also his model, and who led him a dance.  The poem itself indicates that she grudgingly gave him attention, even to his work, which was supporting them, and instead spent her time with a largely spurious “cousin,” a usage which implies that she was cheating on del Sarto.

Browning’s monologue is one which is filled with certain regrets del Sarto supposedly has about having left court and lost his following to paint pictures of Lucrezia for the odd patron who comes along and falls in love with her beauty.  Of course, being in love with her himself to an uxurious degree, del Sarto constantly forgives her and speaks against his own ambitions.  Still, they do not go entirely unmentioned.  And when he comes to the subject of art, he not only gives himself a harsh consideration, but puts forth a “theory” of art, which shows that his work is also never far from his thoughts and that it is in fact the pull between his love and his art which is making him miserable.  This is how that part of the poem goes, with its famous lines about heaven and achievement of the utmost:

“There burns a truer light of God in [my rivals],/In their vexed beating stuff and stopped-up brain,/Heart, or whate’er else, than goes on to prompt/This low-pulsed forthright craftsman’s hand of mine./Their work drops groundward, but themselves, I know,/Reach many a time a heaven that’s shut to me,/Enter and take their place there sure enough,/Though they come back and cannot tell the world./My works are nearer heaven, but I sit here./The sudden blood of these men! at a word–/Praise them, it boils, or blame them, it boils too./I, painting from myself and to myself/Know what I do, am unmoved by men’s blame/Or their praise either.  Someone remarks/Morello’s outline there is wrongly traced,/His hue mistaken; what of that? or else,/Rightly traced and well ordered; what of that?/Speak as they please, what does the mountain care?/Ah, but a man’s reach should exceed his grasp,/Or what’s a heaven for?  All is silver-gray/Placid and perfect with my art:  the worse!”

And so on and so forth, comparisons to both lesser and greater painters of his time continuing.  He criticizes his art, and sometimes to a hesitant and slight degree his model, Lucrezia, and says it’s “As if I saw alike my work and self/And all that I was born to be and do,/A twilight-piece.”  All of this relates to his own strange pull amongst ambition, and perfection of craft, and love, with his awareness that the nature of aspiration demands one must always have another level to ascend to, another goal, something that possibly cannot be reached.  His wife “rewards” his love for her in this manner willy-nilly, and it is as if he is a partially beaten man, wondering if his art will do the same thing.

Yeats, who has written many poems about art and artists and the life of the same has his own moments of expressing either a strange mixture of exhilaration and defeatism, or a calm acceptance of failure–the difference is, of course that the former is about his own work, the latter about that of another.  In the first poem, he documents his contrary and mixed emotions of infatuation and personal vexation with his job as director-manager of the Abbey Theatre.  It’s called “The Fascination of What’s Difficult”:

“The fascination of what’s difficult/Has dried the sap out of my veins, and rent/Spontaneous joy and natural content/Out of my heart.  There’s something ails our colt/That must, as if it had not holy blood/Nor on Olympus leaped from cloud to cloud,/Shiver under the lash, strain, sweat and jolt/As though it dragged road-metal.  My curse on plays/That have to be set up in fifty ways,/On the day’s war with every knave and dolt,/Theatre business, management of men./I swear before the dawn comes round again/I’ll find the stable and pull out the bolt.”

“Our colt” is of course the divine horse Pegasus, emblem of creative inspiration, yet Yeats shows quite clearly in this poem how he reacts to all the stops and starts and quandaries and problems of a practical nature that afflict those working in his theatre, with special reference to his own role and his temptation to “find the stable and pull out the bolt” and let the horse escape, probably more occasional than he lets on, since I suspect just writing this poem relieved some of the tension.

Finally (though of course there are so many aspects of the complicated questions having to do with inspiration and achievement that writers and artists will always have more to say), there is Yeats’s poem entitled “To A Friend Whose Work Has Come to Nothing.”  It is in this poem that I sometimes see the Yeats I like least, the Yeats who is not always at his hard-headed best, but who is a little sentimental, coyly daft, and perhaps a bit glib, with his famous mysticism thrown in and passing for a genuine vision, whereas in other poems it’s quite remarkable and eerily convincing.  At the end, I have to suppose that Yeats may have been aware that this poem is one of his own which is an encapsulated experience of what it is itself discussing, i.e., he may have known that this tribute was a partial failure of his own art, yet was perhaps unable to offer better:

“Now all the truth is out,/Be secret and take defeat/From any brazen throat,/For how can you compete,/Being honour bred, with one/Who, were it proved he lies,/Were neither shamed in his own/Nor in his neighbours’ eyes?/Bred to a harder thing/Than Triumph, turn away/And like a laughing string/Whereon mad fingers play/Amid a place of stone,/Be secret and exult,/Because of all things known/That is most difficult.”

On the other hand, if one looks for one of those many connecting highways and by-ways and intersections and coincidences so common in Yeats’s poems, one will notice the coincidence that he uses the work “difficult” in both poems.  It seems to suggest that possibly the “Triumph” spoken of is only actually a question of public personal acclaim, and that the work itself, whatever it may be, which his friend accomplished–or himself, Yeats was not above “dividing” himself into two and writing one to the other–was in fact a Triumph of a private sort, not a failure at all.  The familiar Yeatsian take on the “mad” person, one who is inspired by something not usual or not usually of this world, is thus included here as another emblem of the divine as it enters the humdrum world of human life, just as the horse Pegasus was seen as a ragged and whipped colt in the world of theatre politics and arrangements.  Take it as you will.  Yeats’s shoulders are creatively certainly broad enough to bear my previous charge, that he is sometimes a bit too whimsical.

Thus, to take it all in all, neither Andrea del Sarto with his wandering wife, nor the complaining theatre prime functionary, nor the “mad” talent in the third poem who is advised to let harsh words pass are any of them really expected (and perhaps are not inclined) to give up the fight and actually throw in the towel when it comes to artistic goals and aspirations.  Their trials are just the bumps one can expect to find along the road to art, should one be so “daft” as to make the artistic and creative one’s perpetual mental habitat.  So, if you are a person who for one reason or another likes to make ideas or things, or simply one who likes to mull over and meditate in print or otherwise on others’ creations, perhaps my post today will provide some fodder for your own private “Pegasus,” and keep him from kicking down the walls of his stable the next time you fight through your own creative struggles and torments.  Here’s to the high road of creative reward and difficulty alike, for my choice!  How about you?

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How Firesign Theater, Stanislavski, and I are (loosely and tangentially) connected….

Let’s start with the facetious, progress to the serious, and then wind down (or up?) with the point of my post for today.  It’s not a long post, in any case, but I hope to raise a few thoughts and speculations about how we bloggers go about blogging and adhering to a schedule of publication even when it’s a gloomy winter and our fingers are a little bit frozen as they peck the keys, and we really haven’t been reading much lately, so we have nothing much to blog about (or at least not if our posts are usually about literature).  What have I been doing instead of blogging and reading good literature, you ask?  Well, I’ve been trying to drag and haul and “unpack” (as Shakespeare somewhere or other would have it) words from my “word hoard” (the ancient Anglo-Saxon for “vocabulary”) to fill the pages of my novel.  I also took time out to watch an opera production over the computer from Met Opera On Demand, “Madama Butterfly,” to be precise.  So it’s not that I’ve been totally unproductive:  I’ve just not fulfilled my (self-appointed) duties as a blogger very well.  But I promised you something facetious, so let’s begin at the beginning.

For those who like comedy routines and have a memory which reaches back a few years, there’s the comedy team called “Firesign Theater,” a group of several talented no-longer-young comedians who by now have cut a number of records, of which I am the proud possessor of about four.  Those who have their spoofy take-down of Shakespeare album (and who still have a turntable to play it on) may well remember, I believe from their jests about weather conditions in “Hamlet” or possibly “Macbeth” on the heath, the immortal lines–delivered in the true ornate Shakespearean manner and accent–“Crack, cheeks; blow, wind,” and other such gems of parodic genius.  There’s also the school adventures of Porgie Tirebiter (a spoof of Archie and Jughead-style teenage fables) from “I Think We’re All Bozos on This Bus,” their parody of Sherlock Holmes entitled “The Tale of the Giant Rat of Sumatra,” and the topical albums (they were popular in the late ’60’s and early ’70’s) “Don’t Crush That Dwarf, Hand Me the Pliers” and “In the Next World, You’re On Your Own,” to name only the albums I’m personally familiar with.  There are more, which a search on the Internet will turn up.  These four inspired raconteurs of rowdy routines were (and I hope still are) Phil Austin, Peter Bergman, David Ossman, and Philip Proctor.  And here’s the nub of it:  though they had obviously had to rehearse their routines to get all the remarks and the sound effects filled in in their appropriate spots, they had a way of playing off each other’s jests which struck one as more truly like improvisational theater than planned writing.  It is absolutely delightful what they can do with words, concepts, events, and other people’s creations.  And the freshness is preserved by the sense of their being especially inspired on the instant to make their jokes.  And here (though of course “many a truth is spoken in jest,” as we know) we switch to the serious part of my post.  How does one access one’s inspirational genius?

One of the most interesting and vitally creative and worthwhile books I’ve ever read is the famous Russian director and teacher Konstantin S. Stanislavski’s book An Actor Prepares.  It’s all about how he went about training his students to act by the manner now know as “method acting,” of which he was the main inventor.  Nevertheless, though it is about acting and acting students and the theater and plays and playwrights, it is a work which everyone, painter, actor, literary critic, sculptor, academic, novelist or poet, or anyone in any other creative field should read, for its advice on inspiration.  Though there are many scenes and incidents in the book in which Stanislavski spurs his students to new heights of creativity by his advice and teachings, there is one key scene which I will have always in my memory, and which is the gist of my own thoughts on creation to the present day.  Stanislavski was reproaching a certain student for his slipshod work in the manner in which he portrayed his character.  The student, like many a student everywhere, earnestly (but perhaps a trifle lazily?) responded that he had tried and tried, but he didn’t feel “inspired” that particular day with that particular character.  Stanislavski’s response?  He lectured the student that it was not his primary job to “be inspired,” rather it was his job to develop his “technique.”  He believed that technique was the bread and butter (or the meat and potatoes) of the creative world.  Inspiration, by contrast, was something that came along where and where it would, and was more like the icing on the cake.  It could not be relied upon, because it was a will-‘o-the-wisp, likely to disappear if too heavily relied upon.  The best possible creative solution was always to have one’s technique at the ready and in operation, and while maintaining one’s openness to allow inspiration to come along, always be prepared to do a simple workmanlike job in the event that it deserted one.

And where do I come into this post, as I indicated that I would at the beginning?  Well, it’s only that I’ve tried day after day (like Stanislavski’s erring and excuse-making student) to come up with an inspiration for a post, and finally today while I was looking for something to post upon, my eyes ran across a book by a theater person named Sonia Moore, written on the Stanislavski method.  And a light bulb did indeed go on over my head, so I guess it was really a kind of inspiration, in a way, but before I could just take the improvisational moment and the inspiration and run with it, I felt it only fair to share not only my original reading of the book, but also to connect it up with all the ins and outs of the vexed question of inspiration and improvisation themselves.  And so, here it is:  a post a bit longer than I thought it would be, but one I hope which will repay your attention and give you too something to think (or read) about the next time your inspiration lags.  Toodle-oo! for now–post done!

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Disclaiming the disclaimer–Terry Kay and the truth of “To Dance With the White Dog”

In this post, I’m going to start with the ending, then do some standard description of the book.  There was no standard disclaimer in the book about the fiction having to do only with no actual people, alive or dead, and in fact I didn’t run into the “disclaimer of the disclaimer” until the last page–I had been a good and servile reader and not looked ahead to “spoil” the story or satisfy my impatience.  Here’s what I read on the last page:

“Author’s Note:  You will find in many novels a fine print disclaimer about the story, about the coincidence of similarity to real people and real events.  It is a proclamation that fiction is fiction, regardless of its wellspring.  This novel does not carry that disclaimer.  It would be a lie.  I have taken To Dance With the White Dog from truth–as I realized it–of my parents.  There was a grand romance of life between them, and my father’s loneliness following the death of my mother was a terrible experience for him.  And there was a White Dog.  And my father did believe White Dog was more than a stray.  In this novel, I have changed names, numbers of children, and other facts.  I did this for two reasons–dramatic intensity and detachment, both necessary in relating a personal memory to an unknown audience.  I do not mean to offend the truth.  I only wish to celebrate its spirit.”

This book, dealing with at least some actual events and people as it does, is still fictionalized and as such, using the fine imaginative lens of Terry Kay to reach its realization, has a great deal to do skirting the delicate edge between sentimentality and sentiment, the first a definite drawback to experiencing genuine emotions dealing with death and dying, the second, sentiment, being an especial plus where it occurs.  The basic story line concerns an elderly man, Sam Peek, who is still robust though on a walker, and whose children cluster around him with their emotions not always under proper control when his wife “of fifty-seven good years” dies and leaves him alone while still surrounded by well-meaning offspring.  The sentiment is what the author is striving to picture, the sentimentality is what he is trying to eschew, even while picturing the sometimes overwhelming emotionality of the man and his children towards everyday events which call the mother’s death to mind.

This is a tough job, and yet I believe that by and large Kay manages to bring it off, though a cynic might mock the simplicity of the world view(s) of the characters.  Kay leaves his characters alone and doesn’t usually attempt to explain them away, controlling most of what happens from the old man’s viewpoint, whether he is actually “dancing” with the mysterious white dog which appears after his wife’s death or whether he is writing in his journal and enjoying a playful plot to tease his children, particularly his daughters, who worry about him too much and crowd him with their concern while he is trying to maintain control of his own feelings.

The stray dog is the first center of his children’s concern, because their father tells them that it appears to be fed and will let him touch it and comes in his house, but none of them can see it, at least not at first.  Realizing that his daughters think he’s barmy and attempting to amuse himself at their expense, he deliberately gets in front of them and pretends to pet an invisible dog, and to dance with its paws on the front of his walker.  They can never see it, and furthermore their dogs don’t bark when he says his dog is around, so of course they start to wonder if they should make other plans for their father than allowing him to live alone with themselves checking in on him periodically and sometimes coming to cook for him.  Finally, however the blazing white dog is seen at a distance, and Neelie, the old African-American woman who was a special friend of his wife Cora’s, tells them it’s a ghost dog with their father, and they aren’t sure what to believe, not only what they believe but what their father believes.  This is perhaps a weakness of the text, that a stereotypically ghost-fearing older black person would have this perspective and voice it for them, but then I can’t apply the same standards to Terry Kay’s book that I might apply to a work of pure fiction, because for all I know Neelie was modeled upon a real person who happened to have these particular traits.  That is a matter for Kay’s creative conscience.

One thing I can speak to is that the characters more or less speak and act like real people otherwise, not like cardboard cutouts of people in the Deep South, and they do things that are not stereotypical.  For example, one of the sons threatens a father of some ne’er-do-wells whom he thinks may have harmed his father when the old man suddenly disappears for a few days, and there is a later scene when he repents of the threat, not because there was any bad result of it externally, but because he realizes that the father of the miscreants may in fact be as worried about the careers of his own boys as all Sam Peek’s children are about their missing father, who it turns out later has simply taken his white dog and gone off on an adventure of his own, the last big one of his life.

Taking all of these things together, I enjoyed my reading of To Dance With the White Dog, and found that it used simple language and concepts to put forth some very complex ideas about living and dying.  It is a quick but by no means negligible read, and has made fans in many places, perhaps one of the most far-flung geographically speaking The Most Reverend Desmond M. Tutu, the Anglican Archbishop of Capetown, who had this to say about the book, my copy of which was dated 1990:   To Dance With the White Dog is a hauntingly beautiful story about love, family, and relationships.”  This is the essential thing one can say about the book, because it really doesn’t matter whether the dog is real or not, a ghost dog or not:  what matters is what the characters do with the circumstances they are given, caring for each other in circumstances of that eternal enemy of humankind, death.  In this book, the characters show the way of death’s defeat and the triumph of their own supposedly weaker mortality in the contest between the two.  And that’s what “dancing with the white dog” is all about.

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…And a Happy New Year! You having one, I wish, that is….

Does my title sound a tiny bit discombobulated?  As if perhaps I had been partaking too generously of the Christmas and New Year feasts and imbibing too much of the wines and spirits of the same?  Well, you caught me; I have.  And it has made my New Year’s post, such as it is, a few days latte.  I mean, that is, a few days late (will I ever recover from such treats as the delicious but perverse Bolthouse pumpkin spice latte my brother treated me to for the second holiday?  Likely not for a while).  And, as befits life in a cold climate (which is what this part of the temperate zone feels like now, going down below reasonable temperatures entirely), I am trying to finish up my first cold of the season, which started before baking time in November, let up or went away entirely in time for Christmas baking, then returned or resumed or just plain started all over again once I was on vacation.

At any rate, this is just a short season’s greetings post to acknowledge that I’m still alive, despite chills and phlegm, and have successfully made my way into a new year, with the help of close family and friends.  I hope you have done the same (without the chills and phlegm), and I’ll be trying to finish up my sixth novel in the New Year (a novel which technically is the fifth of my non-sequential sequentially oriented novels, but the sixth one actually came out first, last year).  As I explained at the time I published the true sixth novel, the novels are symbolically sequential, but not parts of a series which must be read in a certain order, so cheating in such a way was really only cheating my own expectations and goals.  As well, I will be continuing articles and reviews of books, poems, stories, and etc. in the New Year, and trying to get back to a more regular posting schedule.  Those of you who have been following my site for some time know that I have promised this once or twice already, but have been derelict in my duty thus far, often waiting more than a week lately between posts.  This holiday season has so far been the longest hiatus in my memory since I first began posting in July 2012.

Be these things as they may, I’m taking this opportunity to wish all of you the best on what some people find the second most depressing day of January (January 2nd being the first).  Don’t worry, though, there’ll be plenty of other days in January and February for those in the Northern Hemisphere temperate zone to get depressed, with the help of various weather systems still to come.  Those of you in the Southern Hemisphere temperate zone can’t even gloat, because you’ll have your winter coming up as well!  Still, we’ve all celebrated at least one New Year’s Day this year, maybe more for people who participate in more than one culture, so let’s look forward with happy anticipation and hope as best we may, since the saying goes that what you get is what you expected to get (otherwise known as the “self-fulfilling prophecy”).  Happy New Year!

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Dylan Thomas and “A Child’s Christmas in Wales”–The perpetual present tense

“One Christmas was so much like another, in those years around the sea-town corner now and out of all sound except the distant speaking of the voices I sometimes hear a moment before sleep, that I can never remember whether it snowed for six days and six nights when I was twelve or whether it snowed for twelve days and twelve nights when I was six.”

With this magical beginning, the spirit of the Christmases of one particular childhood is brought alive into the special awareness we all share, by reference to the moment of brightness just before sleep, and Dylan Thomas begins his tale of all the events of many Christmases, as if they were all rolled into one, all astounding and equally miraculous.

His second paragraph goes thus:  “All the Christmases roll down toward the two-tongued sea, like and cold and headlong moon bundling down the sky that was our street, and they stop at the rim of the ice-edged fish-freezing waves, and I plunge my hands in the snow and bring out whatever I can find.  In goes my hand into that wool-white bell-tongued ball of holidays resting at the rim of the carol-singing sea, and out come Mrs. Prothero and the firemen.”

This second paragraph not only strengthens the half-hallucinatory quality of memory, but also strengthens the poetic qualities and aspects of the narration, all while centering on one particular Christmas at the beginning as a way of leading into the wider, more general story of how all the Christmases were alike when Dylan Thomas was young, focusing thus also on the aspect of repetition as a characteristic of tradition.  The odd previously unexplained reference to “Mrs. Prothero and the firemen” draw out one’s curiosity as well, and provoke further attention.

To participate in this poetic piece of prose most fully, it is necesssary to read it aloud, and it comes as no surprise that the work was intended for the radio, full of many “tongued” voices as it is through the narrator’s memory.  There is a vague quality to many of the very items that strike us as most picturesque:  for example, the acts of the aunts and uncles in the story are both traditional and highly characteristic of celebrating adults, yet the identities of some of the uncles are unclear, and one aunt is remembered mainly for getting tipsy whenever possible, without really being an alcoholic, “because it was only once a year.”

The short work is almost like a work of music, starting with a brief flourish, alternating details and word pictures as a piece of music would vary themes, building to several minor crescendos and then featuring moments of what one feels must be a modern Christmas, when a voice or two undefined urges the speaker on to tell of specific details already known to the listeners.  As the time of day changes, so does the elegiac tone increase, until finally night comes.  The last sentence reads, “I said some words to the close and holy darkness, and then I slept.”

I don’t know what your Christmas traditions are if you have them, but in our family we always read something together on Christmas Eve.  Usually it has been the whole of “A Christmas Carol” (which is long) or for a less attentive audience and a younger one “The Night Before Christmas.”  But if you are looking for something to read together this Christmas Eve, you could do much worse than to be Welsh for a season and to read together “A Child’s Christmas in Wales” by Dylan Thomas.  There are no difficult dialectal words to master or explain, and the whole piece is immensely accessible for young and old alike, regardless of nationality or political affections.  To find this piece on the internet, simply go to Google.com and get on the link www.bfs.media.com/MAS/Dylan/Christmas.html .  And have a happy and blessed holiday in bringing to mind a perpetual present-day vision of your own Christmases past, this season!

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The Scroogiest time of year….and here I thought it was the season of joy and peace!

Hello, my (I hope) loyal readers!  Though I have been away from posting for about two weeks now, and have nothing literary to contribute today, I nevertheless have something to say.  I was at my brother’s in Vermont for an extended period of time over the Thanksgiving break because we were working as a family unit to plant garlic and build a greenhouse and cook meals and watch a young misbehaving (sweetheart) of a dog, and enjoy youthful games with a ten-year-old family member, and other chores and duties.  We were looking down the road to a happy if more economical Christmas holiday break again three weeks from now in Vermont, when we got home today to a nasty surprise:  sometime during our absence, someone had super-glued our condo door, and we couldn’t get in.  We had several days’ groceries with us including frozen foods, which we had picked up on the way back home from our trip, and two large carriers full of luggage and vacation bedding, and we were outside our condo in the hall for nearly two hours while we waited for the locksmith to come.

We found what people’s tried and true selves were as we confronted our dilemma, but not everyone is playing with a clean hand (and some not with a full deck, apparently).  The probable cause of our situation?  There has been for several years now an intimidation factor going on in our condo building, and other people have had packages from the postal service stolen, items on cars damaged, things wrecked, mailbox and now (with us the evident first) condo doors damaged with superglue, among other acts of vandalism.  There have been additional sorts of outrage going on which are harder to pinpoint, and no exact culprit or culprits has been located, because even though the building has several times discussed getting security cameras in the common areas, nothing yet has been done.  This time, because our door was damaged from the hallway (which is a common area) the condo board was gracious enough to take the charge of payment for us.

The root source of all this, in an apparently middle-income to upscale building (depending on how high up you live)?  It’s hard to pinpoint too, except that for several years now there have been two factions in rivalry for the unpaid positions of being on the Board of Trustees, and the additional hired jobs that are decided by the board.  The pot is on the boil, and things have gotten steadily worse.  How did we get involved?  My roommate, who is my mother, a conscientious, highly intelligent, and tactful person with many friends, merely stood up in a meeting and said that we should all try to get along better the way we used to do, and that it would have been odd if the newest elected board members were the ones doing the vandalizing (or any of their contingent friends, or allies), because why would they?  They had gained power by a legitimate election.  She wasn’t taking sides, she was just using her noggin and voicing an opinion.  This was all she said, and someone bided their time and waited until we went out of town and vandalized our door.  Now, it’s useless to point fingers.  In even the best communities, there are people who do damaging things because they are just wacko or wired differently from other people, and each person who has heard about it (with the exception of the one or ones who know they did it themselves) has a slightly different take on who’s guilty.  The police came to take a report and were able to verify that many other incidents had happened in our building in the last few years, and that it wasn’t entirely unusual to find such situations even in otherwise “nice” buildings.  We are finding sympathy everywhere, and empathy among some who’ve had the same thing happen to them.  And this situation is why–despite my mother’s strong and ebullient recovery from the negative surprise–I call this the Scroogiest season.  This is the atmosphere not of fairness and equity which is supposed to obtain in a community like this one, but an atmosphere of special patronage and thuggery.  We don’t live expensively, and had the Board of Trustees not guaranteed my mother repayment of the damage repair costs, it would have been a hardship which hadn’t been figured into the monthly amounts.

Here’s hoping the Christmas season brings the notion of concord and graciousness back to people’s minds, when true friends can be true friends, and enemies can bury the hatchet somewhere other than in each other, and we can all re-learn joy and peace, not just for a short time or a cold winter season when people are lethargic anyway, but for a permanent part of our lives and living arrangements.  And here’s hoping you yourselves are enjoying or are preparing for a lovely holiday of whichever one is yours this year:  may it be a comforting and enlightened one!

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