The friendly overtures of a person whom we no longer love, overtures which strike us, in our indifference to her, as excessive, would perhaps have fallen a long way short of satisfying our love. Those tender speeches, that invitation or acceptance, we think only of the pleasure which they would have given us, and not of all those speeches and meetings by which we would have wished to see them immediately followed, which we should, as likely as not, simply by our avidity for them, have precluded from ever happening. So that we can never be certain that the good…
Be near me when the sensuous frame
Is racked with pangs that conquer trust;
And Time, a maniac scattering dust,
And Life, a Fury slinging flame.
Be near me when my faith is dry,
And men the flies of latter spring,
That lay their eggs, and sting and sting,
And weave their petty cells and die.
Be near me when I fade away,
To point the term of human strife,
And on the low dark verge of life
The twilight of eternal day.
How hard it is for me, who live
in the excitement of women
and have the desire for them
in my mouth like salt. Yet
you have taken me and quieted me.
You have been such light to me
that other women have been
your shadows. You come near me
with the nearness of sleep.
And yet I am not quiet.
It is to be broken. It is to be
torn open. It is not to be
reached and come to rest in
ever. I turn against you,
I break from you, I turn to you.
We hurt, and are hurt,
and have each other for healing.
It is healing. It is never whole.
This comes from Win Bassett.
Louisiana poet David Middleton’s new collection, The Fiddler of Driskill Hill, is out from Louisiana State University Press. A review from The Quarterly Conversation states,
Middleton’s sensibility as poet and man is thoroughly Christian, Southern (or rather, Louisianan), and traditional, but he’s no unreconstructed romantic Rebel reliving the Civil War. His manner is meditative and elegiac, not rancorous or redneck. In a rare useful blurb on the back of the book, the North Carolina poet and novelist Fred Chappell describes Middleton’s work as “stately,” a quality more often associated with Milton than any contemporary poet.
Another Week Ends: Lenten Anthropology Meets Carl Rogers, New Community, Charlie Kaufman, Oscars Morality, Auden (Again), and Katims on Crying
1) A particularly Lenten roundup this week, starting with this very beautiful, concise reflection from Will Willimon over at OnFaith, called “Good News! You’re a Sinner and Lent Is Here,” which deals primarily with the deep relief that comes in knowing yourself as a sinner. (Reminds us a little of someone we get to meet in NYC this spring, who has spoken quite frankly about the “cruel optimism” of our contemporary world.) The truth is, more often than not, the scandal of the Christian faith is not merely the nature or existence of God, but the sin of humankind—and the…
О weariness of men who turn from God
To the grandeur of your mind and the glory of your action,
To arts and inventions and daring enterprises.
To schemes of human greatness thoroughly discredited.
Binding the earth and the water to your service,
Exploiting the seas and developing the mountains,
Dividing the stars into common and preferred.
Engaged in devising the perfect refrigerator,
Engaged in working out a rational morality,
Engaged in printing as many books as possible,
Plotting of happiness and flinging empty bottles,
Turning from your vacancy to fevered enthusiasm
For nation or race or what you call humanity;
Though you forget the way to the Temple,
There is one who remembers the way to your door:
Life you may evade, but Death you shall not.
You shall not deny the Stranger…
Why should men love the Church? Why should they love her laws?
She tells them of Life and Death, and of all that they would forget.
She is tender where they would be hard, and hard where they would like to be soft.
She tells them of Evil and Sin, and other unpleasant facts.
They constantly try to escape
From the darkness outside and within
By dreaming of systems so perfect that no one will need to be good.
But the man that is will shadow
The man that pretends to be.
Excursions & Arrivals
The sign at the corner of the property
at the foot of the driveway—”No
eighteen wheelers allowed in the church
parking lot”—may be exactly the confirmation
I needed that I am currently passing
by a Baptist church a little to the south
of Chattanooga. Was it a recurring problem
that led to its posting? Did the congregation
rebel or reach the proverbial tipping point?
Even so, I’d like to think they would make
an exception, that every once in a great
while they might wave the driver toward them
with his truckload of passengers battered
bruiseful by all of the loveless difficulties
that make up so very much of this life,
not pallets of freight they’d come to expect
but many blemished ones hungry to the point
of being famished, urgent for the Son
rising with his big paper-carrier’s bag
of good news and promises or even simple
reassurances like, You are not going
to perish now, or You are mightily
welcomed here, even though you’re fully
known here, and so on. Against hope, I hope
sometimes that those Baptists are smiling
as they direct the eighteen-wheeler’s driver
forward, forward with the bird’s-wing flutters
of their sweet, inviting hands, as if saying
Pull yourself on in here now, buddy.
You take up as many spaces as you need,
while already his long trailer is being
unlatched and its metal door rolled up
so as to let that Tennessee light pour in,
clarifying its darkened conveyances,
especially brightened on Sunday morning
as I imagine it now, while driving slowly
on Spring Creek Road south of Chattanooga.
This comes from an essay Fanny Howe wrote, called “Keepers of the Image,” about her mentor, Ilona Karmel, and a short essay she wrote, also called “Keepers of the Image.” Howe describes Karmel, a Jew who survived the WWII Polish labor camps, as a woman of Dostoevskian realism, someone who sought to write about her experiences not for sentimental purposes, but for an exact depiction of abject human darkness. She wrote of the conflict in each person, between the self they know everyday, and the self they long to be, the “secret self.”
Like Dostoyevsky, Ilona Karmel pursued truth (without quotes)…
As I in hoary winter’s night stood shivering in the snow,
Surprised I was with sudden heat which made my heart to glow;
And lifting up a fearful eye to view what fire was near,
A pretty babe all burning bright did in the air appear;
Who, scorched with excessive heat, such floods of tears did shed
As though his floods should quench his flames which with his tears were fed.
Alas, quoth he, but newly born in fiery heats I fry,
Yet none approach to warm their hearts or feel my fire but I !
My faultless breast the furnace is, the fuel wounding thorns,
Love is the fire, and sighs the smoke, the ashes shame and scorns;
The fuel justice layeth on, and mercy blows the coals,
The metal in this furnace wrought are men’s defiled souls,
For which, as now on fire I am to work them to their good,
So will I melt into a bath to wash them in my blood.
With this he vanished out of sight and swiftly shrunk away,
And straight I called unto mind that it was Christmas day.
“To some people, I may seem calm. But if you could peer beneath the surface, you would see that I’m like a duck—paddling, paddling, paddling…” – Scott Stossel
You don’t have to have a therapist on speed dial to relate. You don’t need a prescription to Xanax or Ativan, or a shelf full of ‘dealing with anxiety’ books to know what he’s talking about. You don’t even need to be interested in mental health. If you have a pulse, you know. Of course, it helps if you have an Internet connection too. The skyrocketing rates of anxiety in America are no…
Our Father, whose creative Will
Asked Being for us all,
Confirm it that Thy Primal Love
May weave in us the freedom of
The actually deficient on
The justly actual.
Though written by Thy children with
A smudged and crooked line,
The Word is ever legible,
Thy Meaning unequivocal,
And for Thy Goodness even sin
Is valid as a sign.
Inflict Thy promises with each
Occasion of distress,
That from our incoherence we
May learn to put our trust in Thee,
And brutal fact persuade us to
Adventure, Art, and Peace.
Well, anyhow, it preserves us from the pride
of thinking we invented sin ourselves
by our originality, that famous modern power.
In fact, we have it from the beginning
of the world by the errors of being born,
being young, being old, causing pain
to ourselves, to others, to the world, to God
by ignorance, by knowledge, by intention,
by accident. Something is bad the matter
here, informing us of itself, handing down
its old instruction. We know it
when we see it, don’t we? Innocence
would never recognize it. We need it
too, for without it we would not know
forgiveness, goodness, gratitude,
that fund of grace by which alone we live.
Ever since I read John Harris Harper’s miraculous new book Witnesses to the Light, which has just been published in Birmingham, I have been thinking about what it means to do something that is not half baked. This is because Harper’s book is thoroughly baked, a completely realized achievement.
Sometimes, because I can be paresseux, a thing I do will be half baked. I cut a corner, or fail to corroborate a fact, or skip a step in the argumentation. It’s just a fact of my work, and John Harper’s new book is a timely call to me to be thorough.
This podcast concerns the “escapism” of the poet Percy Bysshe Shelley (1792-1822). In particular, it consists of a reflection on some lines that occur near the end of his poem “Adonais”. These lines connect with my Panopticon, and with an experience I had on May Day of last year.
We’ve “Gotta Get Away” (Rolling Stones) from this world, deep down, in order to engage. Like the nuns in “Call the Midwife”.
She bore no more than other women bore,
but in her belly’s globe that desert night the earth’s
full burden swayed.
Maybe she held it in her clasped hands as expecting women often do
or monks in prayer. Maybe at the womb’s first clutch
she briefly felt that star shine
as a blade point, but uttered no curses.
Then in the stable she writhed and heard
beasts stomp in their stalls,
their tails sweeping side to side
and between contractions, her skin flinched
with the thousand animal itches that plague
a standing beast’s sleep.
But in the muted womb-world with its glutinous liquid,
the child knew nothing
of its own fire. (No one ever does,…