“remembering,” a lifelong pursuit of something else

A Hebrew Myth, a potent element in the annals of the bees, tells us that when a child is born an angel takes it under his wing and recites the Torah to it. Having done that he puts his forefinger on the infant lip and says one word, “Forget!”

Clearly, every tradition has a similar angel, for where is the human creature who lacks indentation of the upper lip, that little valley of flesh where the same word has been so ineffaceably expressed? And, indeed, of necessity. For how, without forgetting, can remembering arise? And remembering leads to search.

Maybe it needs another angel, though this time leaving no manifest mark, to set us on our way. Angels, anyway, thread through our lives, invisible presences, energies, messengers, bringers of dreams–not the hodge-podge of daily events–but those rare dreams of portent and revelation that can change the course of our lives. There are angels who walk beside us as Raphael walked with Tobias, pilgrim angels who carry bowls, not for begging at doors but to hold to our lips from time to time to refresh us with a taste of that emptiness which in their land is fullness. Such a draught–even the brush of an angel wing–can bring one to oneself, and thus to remembering; for without remembering we dream our life away and arrive at the end of it to find that there has been nobody there, the initiatory touch truly forgotten and never woken from. The way has been in us but we have not been on the way.

I cannot recall the time when I was not searching for a nameless unknown. Something Else, I called it as a child, and as that it is still known to me. The longing for it affected me most strongly at sundown, and I would weep, not allowing the grownups to comfort me, tenderly or testily, with assurances that the sun would surely rise in the morning. I knew that. But this unknown was clearly connected with it and seemed to depart with the sun.

As I grew, I learned to contain my sorrow, indeed–except at moments when an angel passed–entirely to forget it. Daily life needs its full share of the human creature’s two natures–the mind its inventions and imaginings, the heart its orchestra of feelings (oh, the drumbeats, the clarinets, the trombones!), flesh and blood their various feastings, in order to have the material to question and to know. Was it not this share that the Prodigal Son–and most of us are Prodigal Sons–set out with his portion to seek? And after, again like most of us, spending it–the revelings and the subsequent sufferings–he came at last to himself. Having forgotten, he had to remember, reminded, perhaps, by a passing angel, and knew he had to turn home.

The parable does not tell us much more. But can we suppose that he spent the rest of his life making merry and feeding on fatted calves? Would he not, after such an awakening, such a realization of his own unworth and at length such a welcome home, feel the need to search within for his essential self? Prodigal in all things, would he not submit himself to the fire of self-question, pursue the reparation of the past through the process of metanoia, and with this new energy stirring in him, apply himself to working in the patriarchal fields along with his elder brother who, significantly, never left him?

There is much to be said for that elder brother who is so often maligned. Clearly, having been told to forget he had very soon remembered that what he was searching for was to be found nowhere but at the father’s side.

Most of us have to go far before we find what is nearer than the neck vein, but the very distance draws one closer. For myself, Something Else no longer sets with the sun. Rather, the sun goes down in myself and I am lost in the twilight. O Forgetting, sustain my Remembering! Stay my feet, angels, upon the way, so that the seeker becomes the sought, and I , too, may be spied from afar as someone comes running to meet me…

~ Pamela Travers

“Remembering,” A lifelong pursuit of Something Else

with thanks to parabola

the journey

One day you finally knew 

what you had to do, and began, 

though the voices around you 

kept shouting 

their bad advice—

though the whole house 

began to tremble 

and you felt the old tug 

at your ankles. 

"Mend my life!" 

each voice cried. 

But you didn't stop. 

You knew what you had to do, 

though the wind pried 

with its stiff fingers 

at the very foundations, 

though their melancholy 

was terrible. 

It was already late 

enough, and a wild night, 

and the road full of fallen 

branches and stones. 

But little by little, 

as you left their voices behind, 

the stars began to burn 

through the sheets of clouds, 

and there was a new voice 

which you slowly 

recognized as your own, 

that kept you company 

as you strode deeper and deeper 

into the world 

determined to do 

the only thing you could do—

determined to save

the only life you could save.

~  Mary Oliver

art by Paul Klee

my body effervesces

I am born for the second time.

I am light

as the eyelash of the wind.

I froth, I am froth.

I walk dancing,

if I wish, I will soar.

The condensed lightness

of my body

condenses most forcibly

in the lightness of my foot

and its five toes.

The foot skims the earth

which gives way like compressed air.

An elastic duo

of the earth and of the foot. A dance

of liberation.

I am born for the second time,

happiness of the world

came to me again.

My body effervesces,

I think with my body which effervesces.

If I wish,

I will soar.

~ Anna Swirszczynska

translated by Czeslaw Milosz and Leonard Nathan

Anna Swir (Świrszczyńska) was born in Warsaw, Poland, to an artistic though impoverished family. She worked from an early age, supporting herself while she attended university to study medieval Polish literature. In the 1930s she worked for a teachers’ association, served as an editor, and began publishing poetry. Swir joined the Resistance during World War II and worked as a military nurse during the Warsaw Uprising; at one point she came within an hour of being executed before she was spared. Czeslaw Milosz writes of knowing her during this time and has translated a volume of her work. Her experiences during the war strongly influenced her poetry. In 1974 she published "Building the Barricade", a volume which describes the suffering she witnessed and experienced during that time. She also writes frankly about the female body in various stages of life. In addition to poetry, Swir wrote plays and stories for children and directed a children’s theater. She lived in Krakow from 1945 until her death from cancer in 1984.

from the poetry foundation

lives of a cell

Lewis Thomas

In 1974, Viking Press collected twenty-nine of the essays, exactly as they had appeared, in The Lives of a Cell. This gave readers the opportunity to see the development of his essay style and voice. The first and title essay in the book, often reprinted in prose anthologies as a model of literary prose, sets the tone and recurring themes of the essays. Here he builds on the analogy between the workings of the cell and the workings of the earth and its lives, including man's. He finds the earth "the toughest membrane imaginable in the universe, opaque to probability, impermeable to death" and man as '"the delicate part, transient and vulnerable as cilia," "embedded in nature" and not the master of it that he pictures himself to be. We are not separate entities so much as interdependent, sharing our very cells with separate creatures such the mitochondria. He concludes that the earth is cannot be called an organism because of its invisible complexities, yet it can be compared to a single cell

Many of his essays, in this book and others, elaborate this idea of interconnectedness, based on his clear explanations of scientific and medical insights. He teaches readers not only about microbiology but how these scientific discoveries can illumine their understanding of an earth in which all beings work collaboratively and interdependently toward what he hopes will be a better world in all senses. Thus the idea of the essential unity of living things, so often sentimentalized into banality, becomes compelling, based not on generalities but on his intimate understanding of how details of cellular biology and immunology can metaphorically reflect human and cosmic realities, both physical and social.

The book includes a great variety of topics. He contemplates the possibilities of extraterrestrial life as he thinks about space exploration. The activity of termite nests is compared to medical conventions, which are much less efficient and collaborative. He considers how we might communicate with our pheromones. Music, one of Thomas's great interests which reappears often in later essays, is the basis for an essay on sounds in nature and a quantitative model of thermodynamic theory.

Another favorite subject is the value of admitting to ignorance before acting precipitously. He proposes that before we start doing anything drastic to alter the environment, such as nuclear warfare, that we determine to understand fully the workings of a single form of life. In "An Ernest Proposal," his candidate for this study, which would take at least ten years, is a protozoan in the digestive tract of Australian termites, a model of collaboration we humans need to learn from.

This book also shows the broad range of Thomas's interests and knowledge. He frequently turns to classical music and language, especially the etymology of key words, to find analogies for order and evolution of ideas. He believes that "rhythmic sounds might be the recapitulation of something else--an earliest memory, a score for the transformation of inanimate random matter in chaos into the improbably ordered dance of living forms." ("The Music of This Sphere") Likewise, words, like "stigmergy," fascinate him because of their "deeply seated, immutable meaning, often hidden, which is the genotype." ("Living Language")

Combining the microscopic and the human is typical of his essays. He is fascinated with technological developments in medicine, but worries in several essays that basic research may consequently be getting too little attention. Other subjects which reappear in later essays include meditations on aging and dying and human paranoia about germs

The final essay, "The World's Biggest Membrane," returns to the premises of the first essay, as he contemplates photographs of the earth from space: "Aloft, floating free beneath the moist, gleaming membrane of bright blue sky, is the rising earth, the only exuberant thing in this part of the cosmos." He goes beyond the famous photographs by comparing the atmosphere to the cell membrane: "To stay alive, you have to be able to hold out against equilibrium, maintain imbalance, bank against entropy, and you can only transact this business with membranes in our kind of world." .He develops this analogy as he describes the evolution of the sky, as "far and away the grandest product of collaboration in all of nature." As in most of his essays, such generalities come to life because he can present so clearly the scientific understandings which underlie them.

~ Ann Woodlief

Lewis Thomas said: "The great secret of doctors, known only to their wives, but still hidden from the public, is that most things get better by themselves; most things, in fact, are better in the morning."

alan watts

~ Alan Watts

from the out of your mind lectures

with thanks to erin

time

~ Robert Spira

sing

Sing

the matchless pleasure

of gypsy girl

and beggar

Toss

cap from head

fling sandals

from feet.

So

I kick my life away

and sacrifice

my heart

Trade

the caravanserai

of this world and the next

for One.

~ Fakhruddin Iraqi

from The Drunken Universe: An Anthology of Persian Sufi Poetry

art by Rodin

listening to the sitar before dawn

It is not yet dawn, and the sitar is playing.

Where are the footsteps that were so clear yesterday?

Sometimes stones have no weight at all, and clouds are heavy.

To those who want me to change, I say, “I will

Never stop traveling that road which connects

Socrates to the turtle, and Falstaff to the Baal Shem.”

Every sitar note strikes a bargain with the one

Who arranges things. One note says, “A year in heaven.”

The turgid silence says, “Two years under the earth.”

The sitar players are already pulling heaven down,

While we have hardly learned to carry earth.

Perhaps they remember all their errors in loving.

Some say that Ganesha and Catherine do the work

For us all, but I see a great deal of faithfulness

In the dragon fly with her long, skinny body.

It was still dark when the fingers began to play.

Now we who have listened so hard have nothing to say.

The wavering sitar note is the early dawn.

For David Whetstone

~ Robert Bly

before a trance

In those days

before a trace

of the two worlds,

no "other" yet imprinted

on the Tablet of Existence,

I, the Beloved, and Love

lived together

in the corner

of an uninhabited

cell.

~ Fakhruddin Iraqi

from Divine Flashes

translation by William Chittick and Peter Lamborn Wilson

C.S. Lewis and Thomas Merton: poetic affinities

It is a rare day, indeed, when C.S. Lewis (1898-1963) and Thomas Merton (1915-1968) are breathed in the same breath. There are many who bow low to Lewis, and many others genuflect to Merton. Both men, for different reasons, have an ample following. Is it even possible to think of these men as having anything in common?

We do know that Lewis was quite fond of Merton. John Brown did a thesis at Union Seminary on race relations in the 1960s, and in a letter to Merton, he had this to say. “I am rather ashamed to admit that you are the first Roman Catholic writer that I have read seriously, and then only on the recommendation of C. S. Lewis, who in a letter not long before he died, stated that he had discovered your writing, and found it quite the best spiritual writing he had come across in a long time”. Merton replied to Brown (August 7 1968). “Thanks for your kind letter. I am certainly happy to think that so sound a judge as C.S. Lewis found something to like in my writing” (The Road to Joy: p. 369) . Merton’s interest in Lewis, though, can be traced back to a book review he did of The Personal Heresy in 1939.

Thomas Merton had finished his MA in English Literature at Columbia University in 1939. The thesis was on William Blake. ‘Nature and Art in William Blake: An Essay in Interpretation’ was a rather interesting read of Blake that few would approve or accept today. Northrop Frye’s magisterial book on Blake, Fearful Symmetry: A Study of William Blake (1947), had not yet been published. But, Merton was very much in the thick of literary criticism at the time, and he was ahead of his time with his interest in Blake. Merton was primed and pumped to do his PH.D., and G.M. Hopkins held his attention. It seemed, from a certain perspective, that Merton was well on his way to becoming an academic and professor. A few more years of solid work on Hopkins, and a thesis behind him, and Merton would be well set on a solid vocational path.

C.S. Lewis, in the 1920s- 1930s, had serious concerns about both the poetry and literary theories of T.S. Eliot. Eliot was editor at the time of one of the most influential literary magazines: Criterion. Lewis sent Eliot an essay to be published in Criterion that reflected his worries. Lewis’ essay, ‘The Personal Heresy in Criticism’ took both Eliot and Tillyard to task in the way they interpreted Dante and Milton. Lewis thought that it was inappropriate to use an author’s writing to learn more about the author. A poem should be studied in and for itself not as a door into the soul of the creator. Lewis sent the article to Eliot in 1931. Eliot refused to publish the essay. The issue, though, would not go away. In fact, the personal heresy took on a fuller and more animated life. The essay was, finally, published in Essays and Studies in 1934. More articles rolled off the pens of Tillyard and Lewis, and they were published in Essays and Studies in 1935 and 1936. Is poetry merely a form of veiled autobiography? Lewis would have none of it. Tillyard thought there was some truth in the suggestion. The essays were finally published as The Personal Heresy: A Controversy (1939). Merton realized this was a book that had to be reviewed.

Merton studied at Clare College, Cambridge from the autumn of 1933 to the spring of 1934. Merton might have heard of Lewis at the time, although Lewis was at Oxford. Merton did a full course on Dante when at Cambridge, and Lewis was immersed in the Medieval-Renaissance era and Dante. Lewis was, obviously, a few decades ahead of Merton on the journey. Lewis was to have a profound impact on the renewal of the Classical catholic tradition to which Merton would turn as he followed the lead of prominent Roman Catholic thinkers such as Jacques Maritain and Etienne Gilson. There is no doubt that there were important affinities between Lewis and Merton. Merton’s turn to the Cistercians in 1941 as his monastic family very much reflected a turn to a Medieval and Classical notion of the Roman Catholic tradition.

The fact that Merton decided to review The Personal Heresy (1939) in The New York Times (July 9 1939) does need to be heeded, and the fact that Merton, for the most part, sided with Lewis against Tillyard needs to be noted, also. The main points of Merton’s review do need to be briefly summarized. The review has been republished in The Literary Essays of Thomas Merton (1960).

Merton had completed his MA on Blake, but he was also a poet, novelist and interested in literary criticism. This meant that he was reading and pondering some of the more pertinent theories and ideas of the time in the 1930s. There is no doubt, given Merton’s area of interest, that Tillyard and Lewis articulated different and at odds views in the area of literary criticism. Merton was the novice, and Lewis-Tillyard the opposing Abbas.

‘E.M.W. Tillyard and C.S. Lewis—A Spirited Debate on Poetry’ can be read at a variety of levels. Merton had done his MA on Blake, and Blake had certainly engaged Milton, and Merton walked the extra mile to situate Blake within aspects of the Medieval heritage. This meant that Merton could not but read Tillyard and Lewis. Tillyard had published two significant articles on Milton and literary theory, and Lewis had more than won his academic stripes with the publication of The Allegory of Love: A Study in Medieval Tradition (1936). Merton flags this reality at the beginning of the review of The Personal Heresy.

Merton notes that ‘it is Mr. Lewis who dominates the whole subject’, and ‘Mr. Tillyard seems only to be presenting a mere foil for Mr. Lewis’ ideas’.

What, though, is the core of the issue? Merton summed it up succinctly.

‘Reconstructing verses into personalities and using the images of poetry for the experiments of psychoanalyis constitute heresy….its value as poetry cannot be judged in terms of Freud or the history of language’. Tillyard, for example, in his work on Milton, had suggested that Milton’s description of Satan ‘was really describing himself’.Merton did lean, therefore, towards Lewis and his position, but he was also willing to recognize that Lewis might have gone too far with his notion, and Tillyard had spoken some truth. ‘Some poems, however, cannot fail to communicate a vague idea of their author’s personality’. This is Merton at his nimble and supple best, weighing and evaluating, unwilling to be an uncritical ideologue. Merton makes it clear that the poetry of Milton, Donne, Blake, Swinburne and Marvell are the products of different personalities and dispositions, and the poetry does say something about the authors.

Merton recognizes, in the controversy, that Tillyard does ease off from his position ‘under pressure of Mr. Lewis’ arguments, but he does arrive at an interesting definition of his position’. Tillyard does argue that there are ‘mental patterns’ that do say something about that poet’s personality, and these patterns are embodied in the poems. This means that Tillyard is more interested in something deeper in the poet’s soul than the mere details of biography. Merton has certainly, in the review, heard both Lewis and Tillyard well. He has refused to take uncritical sides in the debate. Both men, as literary critics, were onto something, and Merton wanted to know just what these literary directors had to say.

The core of the book seems to hinge on the meaning of “personality”, and the relationship of the ‘mental patterns’ of a poet, the poems of the poet and the deeper significance of personality. Lewis in his logic chopping way might have missed some of the more oblique yet insightful aspects of Tillyard’s thought just as Tillyard needed to deepen his definitions of poet, personality and poem. Merton’s review, in a thoughtful manner, attempted to synthesize Lewis and Tillyard rather than doff to the one and dismiss the other. This approach speaks much about Merton’s more dialogical and dialectical way of knowing. There is much more to Lewis-Merton affinities than a delving into the details of literary criticism.

Merton completed his controversial Peace in the Post-Christian Era in April 1962, but the Abbot General of the Cistercian order, Dom Gabriel Sortais, banned the book from being published. Peace in the Post-Christian Era probes the historic peace and war traditions within Christianity and leans in the dovish direction. Most Merton scholars are convinced the title for the book was drawn from Lewis’ “De Descriptione Temporum”. When Lewis took the position of Professor of Medieval and Renaissance English Literature at Cambridge University in 1954, his inaugural lecture was called ‘De Descriptione Temporum” (A Description of the Times’). Lewis suggested in the lecture that Western Culture was moving into a ‘Post-Christian era, Christians and Classical pagans might have more in common with one another than both would have in common with non-religious secularists in such a Post-Christian world. Lewis had, of course, argues the same point in Abolition of Man and The Last Battle.

It has been suggested and cogently argued that Lewis’ coining of the term, Post-Christian, was at the heart and centre of Merton’s use of the neologism in Peace and the Post-Christian Era. Patricia Burton’s compact and convincing essays on the topic, ‘Editorial Note Concerning Thomas Merton’s Peace in the Post-Christian Era’ and ‘Forbidden Book: Thomas Merton’s Peace in the Post-Christian Era’ (The Merton Annual: Volume 17, 2004) makes the case of Merton borrowing from Lewis. George Kilcourse argued further in ‘Thomas Merton on the Challenge of the Post-Christian World’ (The Merton Journal: Volume 15, Number 1: Easter 2008), that Merton dipped his bucket deeply in the well of Lewis’ thought in his use of Post-Christian.

Lewis did describe the post WWII times as Post-Christian. Both Lewis and Merton keenly realized that the times were out of joint, and Christians could no more appeal to either the premises or worldview of either Christianity or Christendom. If Christians were ever going to meaningfully address the reality of the Post-Christian West at a serious and substantive level as public intellectuals, a serious rethinking had to be done on how such a dialogue would take place. Both Lewis and Merton, to their credit, were at the centre of this rethinking process, and this is why they still act as mentors and models of how to think and live the Christian journey in the post-Christian world.

Lewis had a great admiration for Merton. He thought Merton was the best writer in the area of spirituality he had come across in a long time. Merton had a great admiration for Lewis. He thought Lewis was a ‘sound judge’ on the important issues. Merton reviewed Lewis’ The Personal Heresy, and he was both convinced by Lewis’ use of ‘Post-Christian’ and committed to articulate the Christian faith in a way that could meaningfully speak to those the lived in such times.

~ Ron Dart

found here clarion journal

things

What happened is, we grew lonely

living among the things,

so we gave the clock a face,

the chair a back,

the table four stout legs

which will never suffer fatigue.

We fitted our shoes with tongues

as smooth as our own

and hung tongues inside bells

so we could listen

to their emotional language,

and because we loved graceful profiles

the pitcher received a lip,

the bottle a long, slender neck.

Even what was beyond us

was recast in our image;

we gave the country a heart,

the storm an eye,

the cave a mouth

so we could pass into safety.

~ Lisel Mueller

 from Alive Together

with thanks to writers almanac

As she told Karen DeBrulye Cruz, “I write a lot of poems that have tension between what is going on now in society and what has always been there. My poems are much concerned with history. The message is obvious. My family went through terrible times. In Europe no one has had a private life not affected by history. I'm constantly aware of how privileged we (Americans) are.”

notes from poetry foundation

a letter from Fred

form Endwell Road

nothing arrived

~ Villagers

with thanks to endwell road

the unknown self

So much of what delights and troubles you

Happens on a surface

You take for ground.

Your mind thinks your life alone,

Your eyes consider air your nearest neighbor,

Yet it seems that a little below your heart

There houses in you an unknown self

Who prefers the patterns of the dark

And is not persuaded by the eye's affection

Or caught by the flash of thought.

It is a self that enjoys contemplative patience

With all your unfolding expression,

Is never drawn to break into light

Though you entangle yourself in unworthiness

And misjudge what you do and who you are.

It presides within like an evening freedom

That will often see you enchanted by twilight

Without ever recognizing the falling night,

It resembles the under-earth of your visible life:

All you do and say and think is fostered

Deep in its opaque and prevenient clay.

It dwells in a strange, yet rhythmic ease

That is not ruffled by disappointment;

It presides in a deeper current of time

Free from the force of cause and sequence

That otherwise shapes your life.

Were it to break forth into day,

Its dark light might quench your mind,

For it knows how your primeval heart

Sisters every cell of your life

To all your known mind would avoid,

Thus it knows to dwell in you gently,

Offering you only discrete glimpses

Of how you construct your life.

At times, it will lead you strangely,

Magnetized by some resonance

That ambushes your vigilance.

It works most resolutely at night

As the poet who draws your dreams,

Creating for you many secret doors,

Decorated with pictures of your hunger;

It has the dignity of the angelic

That knows you to your roots,

Always awaiting your deeper befriending

To take you beyond the threshold of want,

Where all your diverse strainings

Can come to wholesome ease.

~ John O'Donohue

art by Gedő, Ilka

to Holderlin

We are not permitted to linger, even with what is most

intimate.  From images that are full, the spirit

plunges on to others that suddenly must be filled;

there are no lakes till eternity.  Here,

falling is best.  To fall from the mastered emotion 

into the guessed-at, and onward.

To you, O majestic poet, to you the compelling image,

O caster of spells, was a life, entire;  when you uttered it

a line snapped shut like fate,  there was a death

even in the mildest, and you walked straight into it; but

the god who preceded you led you out and beyond it.

O wandering spirit, most wandering of all!  How snugly

the others live in their heated poems and stay,

content, in their narrow smiles.  Taking part.  Only you 

move like the moon.  And underneath brightens and darkens

the nocturnal landscape, the holy, the terrified landscape,

which you feel in departures.  No one

gave it away more sublimely, gave it back

more fully to the universe, without any need to hold on.

Thus for years that you no longer counted, holy, you played

with infinite joy, as though it were not inside you,

but lay, belonging to no one, all around

on the gentle lawns of the earth, where the godlike children had left it.

Ah, what the greatest have longed for: you built it, free of desire,

stone upon stone, till it stood.  And when it collapsed,

even then you weren't bewildered.

Why, after such an eternal life, do we still

mistrust the earthly?  Instead of patiently learning from transience

the emotions for what future

slopes of the heart, in pure space?

~ Rainer Maria Rilke

from Uncollected Poems

translated by Stephen Mitchell