Category: Poets

The Anti-Trump

It’s either been too cold, too wet, or too cold and wet to get out birding recently, so I’ve finally used up all the pictures I’ve taken. Hopefully, I’ll get out shortly, but until I do I either have to write about the many books I’ve read recently but haven’t had the ambition to organize my notes into a rational statement or read some new poetry books and comment on them.

For now I decided to do the latter and began by reading Naomi Shihab Nye’s Words under the Words: Selected Poems. published in 1995. I actually commented on Nye’s Fuel in 2002 but had almost forgotten about her in the intervening years. Luckily, I was reminded of her poetry recently, for it seems like a perfect antidote to the constant barrage of Trump news that has filled my Facebook page and my news feeds.

Tell, me can you imagine Trump, or his supporters, for that matter, ever reading, much less writing, a poem called “Kindness.”

Kindness

Before you know what kindness really is

you must lose things,

feel the future dissolve in a moment

like salt in a weakened broth.

What you held in your hand,

what you counted and carefully saved,

all this must go so you know

how desolate the landscape can be

between the regions of kindness.

How you ride and ride

thinking the bus will never stop,

the passengers eating maize and chicken

will stare out the window forever.

Before you learn the tender gravity of kindness,

you must travel where the Indian in a white poncho

lies dead by the side of the road.

You must see how this could be you,

how he too was someone

who journeyed through the night with plans

and the simple breath that kept him alive.

Before you know kindness as the deepest thing inside,

you must know sorrow as the other deepest thing.

You must wake up with sorrow.

You must speak to it till your voice

catches the thread of all sorrows

and you see the size of the cloth.

Then it is only kindness that makes sense anymore,

only kindness that ties your shoes

and sends you out into the day to mail letters and purchase bread
only kindness that raises its head
from the crowd of the world to say
It is I you have been looking for,
and then goes with you everywhere
like a shadow or a friend.

Colombia

For better or worse, I’ve never lost all the things Nye mentions in the first stanza, though I suspect losing my faith in the American Dream after serving in Vietnam probably made me kinder, and less self-centered, than I might otherwise have ever become. I know it inspired me to become a caseworker instead of a banker or businessman which, in turn, forced me to see just “how desolate the landscape can be.” Afraid I would end up staring “out the window forever,” I left casework to become a teacher where it seemed more likely that I could actually help people.

I’ve never seen where an “Indian in a white poncho/lies dead by the side of the road,” but I’m still haunted by fellow officers who died in Vietnam pursuing their dreams. Though I’m not sure seeing those bodies made me kinder, I do know it made me realize just how precarious life really is, that there are never any assurances that things will “turn out for the best.”

I’ve certainly experienced my share of sorrow, and at times felt overwhelmed by it and empathized with the sorrow of others who haven’t been as lucky as I’ve been. The Buddha had it right when he said, “What is the noble truth of suffering? Birth is suffering, ageing is suffering and sorrow and lamentation, pain, grief and despair are suffering.”

The Buddha’s answer to that suffering was “compassion,” or, in Nye’s words, “Kindness.” I suspect some of us are going to need all the kindness we can muster to get through the next four years and a President who tries to bully and belittle anyone who opposes his ideas. Though I’ve already managed to fly off the handle at some Trump supporters, I would consider myself a better person if I could manage to empathize with them while still standing up for what I believe in myself. After all, kindness would seem to demand that we treat all people, and not just those who agree with us, the best we can.




Favorites from The Clouds Should Know Me By Now

Without a doubt my favorite poems in The Clouds Should Know Me By Now are those “From Stones and Trees: The Poetry of Shih-shu” translated by James H. Sanford. For me, the poems in this 32 page section are worth the price of the book, especially since I haven’t been able to find a selection comparable even after considerable searching.

Even the introduction to the section stands out and provides a vital understanding of the context of the poems. Perhaps the reason I liked the poems so much is best explained by”: “… Shih-shu —typical of his era perhaps — seems as much Taoist as Buddhist, more a lay hermit than an entempled monk. … Further, as a Buddhist, he is clearly of the ‘samsara is itself nirvana’ variety; for him, the world is far more a realm of enlightenment than a prison-house of sorrow. Indeed, at times he even seems to approach the tantric view of esoteric Buddhism and its watchword ‘the passions are themselves enlightenment.’”

There’s hardly a poem in the section that I didn’t like, but these two might resonate with me the most. This first one sounds a lot like my sentiment since I finally retired.

134

against the gently flowing spring morning
the arrogant rattle of a passing coach
peach blossoms beckon from the distant village
willow branches caress the shoulder of my pond

as bream and carp flash their golden scales
and mated ducks link embroidered wings
The poet stares about; this way, then that—
caught in a web beyond all speaking

That opening image contrasting the noisy coach passing by and the gently flowing spring seems surprisingly contemporary, even if we don’t have coaches anymore. We’re all too busy to sit around and enjoy nature, even Spring’s beauty. Only the poet “stares about” and finds himself caught in a “web beyond all speaking.”

Most of all, I love the imagery in this poem which almost makes that last line superfluous, at least for the reader who has identified with the imagery.

This next poem doesn’t rely on imagery as much as the previous poem, or even as much as I usually like, but the message rings true to me and sometimes that’s enough, too.

70

as flowing waters disappear into the mist
we lose all track of their passage
every heart is its own Buddha
ease off; become immortal

wake up: the world’s a mote of dust
behold heaven’s round mirror
turn loose: slip past shape and shadow
sit side by side with nothing—save Tao

The idea of going with the “flowing waters” which disappear into the unseen and unknown also seems very contemporary, if not just plain “New Age,” but it is also a good metaphor for the Tao, for the Taoist Way, and one that appears throughout the Tao Te Ching.

Combining it with the idea that “every heart is its own Buddha” is a little more striking as is the line “sit side by side with nothing —save Tao.” Hanging on to things too long is the source of many sorrows, but, of course, it’s not easy to “turn loose.”

Jane Kenyon’s “Otherwise”

I’ve already mentioned that Jane Kenyon, like many artists, was bipolar and the darker side of her condition seems to dominate her poetry, which serves to make poems like “Otherwise” stand out in contrast.

Otherwise

I got out of bed

on two strong legs.

It might have been

otherwise. I ate

cereal, sweet

milk, ripe, flawless

peach. It might

have been otherwise.
I took the dog uphill

to the birch wood.

All morning I did
the work I love.

At noon I lay down

with my mate. It might

have been otherwise.

We ate dinner together

at a table with silver

candlesticks. It might

have been otherwise.

I slept in a bed

in a room with paintings

on the walls, and

planned another day

just like this day.

But one day, I know,

it will be otherwise.

Some readers might argue that this, too, is a “dark” poem, and they would not be wrong to read the poem that way. After all, the poem certainly ends on a dark note. Bur dark days and the end of days are inevitable, aren’t they? There’s no denying that. Some lucky people are able to ignore that inevitability and focus on their happy moments, living just in the moment, but that’s not the only way to get the most out of life.

There’s also something to be said to savoring those happy moments precisely because they are short-lived and because sorrow is an inevitable part of life. The Japanese call this feeling mono no aware, an appreciation of the beauty in things by their very impermanence.

One could also argue that the poet’s ability to transcend this knowledge of the “alternative” by doing “the work I love,” by transforming that sense of impending sorrow into pure art is precisely what makes her poetry so meaningful, so valuable to us.

Kenyon’s Highs and Lows

When I was an undergraduate and devoted to poetry, I used to wish I could see the world with the kind of “romantic” extremes my favorite poets did. I knew that wasn’t to be, though, when I was introduced to Aristotle’s Golden Mean in a freshman philosophy class. I knew immediately that that was the guiding principle in my life, a realization confirmed in later life with my fondness for Taoism’s Yin and Yang and Buddha’s Middle Way. That doesn’t mean that, at times, I don’t still admire poets who can see the world in all of its extremes in ways I can barely imagine.

Though Kenyon’s poetry tends to see the world through the darker side of her bipolar vision more often than the light side, she is still capable of allowing the reader to literally see the bright side of life.

Philosophy in Warm Weather

Now all the doors and Windows

are open, and we move so easily

through the rooms. Cats roll

on the sunny rugs, and a clumsy wasp

climbs the pane, pausing

to rub a leg over her head.

All around physical life reconvenes.

The molecules of our bodies must love

to exist: they whirl in circles

and seem to begrudge us nothing.

Heat, Horatio, heat makes them

put this antic disposition on!

This year’s brown spider

sways over the door as I come

and go. A single poppy shouts

from the far field, and the crow,

beyond alarm, goes right on

pulling up the corn.

There is a natural ease about this poem that seems impossible to deny. We’ve all felt free and easy on a warm summer day. My favorite image in the poem, probably because I would never in a million years have thought of using it, is “The molecules of our bodies must love/ to exist: they whirl in circles/ and seem to begrudge us nothing.” Such joy is not just in our mind; it pervades us a the molecular level. We can’t help but be happy.

Rain in January is much more typical of Kenyon’s poetry as a whole, and is a poem I can identify with living here in the Pacific Northwest where we are in the midst of two weeks of unusually heavy rain, likely to extend into mid-June.

Rain in January

I woke before dawn, still
in a body. Water ran
down every window, and rushed
from the eaves.

Beneath the empty feeder
a skunk was prowling for suet
or seed. The lamps flickered off
and then came on again.

Smoke from the chimney
could not rise. It came down
into the yard, and brooded there
in the unlikelihood of reaching

heaven. When my arm slipped
from the arm of the chair
I let it hang beside me, pale,
useless and strange.

I’ve been known to let extended rainy periods get me down and force me to make cynical pronouncements, but luckily I have only felt as bad as the narrator when I’m befallen by thyroid cancer, throat cancer, prostate cancer, or serious bouts of pneumonia. Which is to say that, despite my generally optimistic view of the world, I can, unfortunately, still identify with the poet’s condition. As I suppose most of us can.

I suspect it was not just the smoke that “brooded there/in the unlikelihood of reaching/heaven.” It’s bad enough to feel alienated from heaven, but it’s much worse to be alienated from your body, from a “useless and strange” arm.