Emily Happy 95th Birthday, my do you look so very good for your age and all of your friends have gotten all dolled up for the occasion. This poor man though he looks bored and uninterested in the idle chatter of the woman and their coffee clutch. Intimacy damn it, he wants intimacy! I am having a tough week my father-in-law is in the hospital and his disabled wife has been home alone. I thought I could swoop in and help make everything all better. But last I checked I dissolved that red cape into the same pool with my armour and the realization that I can't make it all better overnight and that the responsiblity of aging parents is so much greater than I is painfully settling in. My office also seems to be a bit more stressed than usual this week. I couldn't get myself to yoga last night, but I did sit an extra time this morning to help wiggle myself out of it. I'll get there, just might take me a few more days to have some clear thoughts to respond to everyone. And Arnold, Thanks for sharing the pictures and for stopping by. What is the first thing that came to your mind when you attended Emily's party?
I don't know if this will help - but when I am trying to work with caregivers I remind them that there are no perfect solutions - there are only options to choose from. Sometimes that justs help to bring them face to face with the problem and the fact that some things can't be fixed. We just make choices.
Thanks Emily, That does help a lot. I will use this to help me keep a better perspective. I guess what I didn't get at first was the amount of time it might take to figure out and navigate a proper situation for them both.
All the important UN visitors this week, like the president of Iran, are staying at the hotel across the street from my office. We are surrounded by security, black cars and trucks, barricades. You can't walk out the door to pick up a sandwich without taking notice of at least ten guys dressed in black and quite frankly I am really tired of the dirty looks for just going to and from my office. There has been protestors yelling Free Tibet for four long days now. I work on the 32nd floor and can still hear them roar, over and over again. At first I was talking to a colleague how great it is that they can express themselves and have the freedom to protest. We walked down to see their signs to collect their papers and to recognize their message on the first day. Now into our fourth day I am weary of the noise. I'd like to walk down to the corner and invite them in. They can have some tea and relax, they can sit with my behind my desk with me. We can have a great time if they would just please stop yelling so I can get some work done! I am just weary in general so that doesn't help. I am tired and frustrated, overwhelmed and cranky. I am trying to be patient and let it pass, but it bubbles up on me in spurts and this morning I actually lost track of an entire 45 minutes. I sat on a stool to put on my shoes and I am not sure where the time went but 45 minutes had passed and I was still sitting on that stool without my shoes on. Perhaps I am losing my mind, or I am being hijacked by my unconscious thoughts. Who knows.
Hey Emily, I don't think they are coming back. We'll have to ask a question ourselves. I feel like this is a game of double-dutch, we have to find the right timing and place to jump in to keep the ropes in balance and the rhythm of the song going.
On a different note, I finished the book Eat, Pray, Love Sunday night it was a good treat after a two long hikes in the rain up at Harriman and a long bath. I know you said you read it and I'd love to chat about it. I feel differently now than when I first began reading it.
I was very disappointed in the book by the end. No problems with the writing; she is clearly a talented writer that brings you into her experience. But what I was left with was the fact that this was a very privileged woman who had the time and money to go on her “spiritual journey,” and in the end finds love. It seemed to offer the promise of something much deeper. I finished saying to myself, “ Gee, wouldn’t it be nice if I had the money to pick up and go to Italy, India, and travel someplace exotic to find myself, find a lover and then make millions telling about it. It just seemed a little too neat.
If I sound a little cranky - well, I am today. Just a treat for myself.
I agree, and I can see how you were disappointed in the end of the book. It does feel a little too fairy tale and neat in its packaging. There is definitely a difference in the last section on Indonesia. I believe the difference was that she stopped sharing as much of her internal thoughts and started to just tell a story while in Indonesia; a story of the new relationships and love affair as a result of her new outlook and place in the world. She was clearly dealing with fewer demons, meditating twice a day and practicing her new approach to suffering. But she stopped sharing her journey from the same perspective.
I felt a similar disappointed when there wasn’t this type of sentiment in the postscript (is that what you call it?) Final Recognition and Reassurance. Very few times in life does someone get the luxury to drop everything, travel and work to repair and renew behavior in a radical way in some pretty amazing places. Very few times this type of journey ends with a lover in Bali that says, “Well, I Iove you, I want to spoil you and I want you to live in four different very desirable locations with you and we'll work it out.” (I am sure there were still struggles with this scenario and I am sure like all of us she struggles with practicing and staying present every day. But I regress and that is beside the point).
I think my problem with the story as a whole; more so in the beginning is that she doesn't have awareness. And maybe somehow this ties into what you are saying about it feeling too neat. I am not sure just saying she doesn’t have awareness can explain it well enough. Let me know but here is my take. Although there are many, 'guides' and 'teachers' that cross her path and aid in her evolutionary growth on this journey she doesn't have the awareness to understand the scope. Without that awareness how can she step back and stand apart from the experience and see the change from a fundamental standpoint. She was more of just living in it. I am not saying that she didn’t make great strides and accomplish great growth. There never felt like this wow moment. Wow, I am lucky, wow, I am grateful for this journey and wow, I am amazed by how far I’ve have come. There was never an understanding of the privilege of such an experience. Even though I say this I did feel this shift of belief and realization in her actions. She couldn't of successfully had a healthy relationship with Felipe or stopped accommodating Wayan, as she had her husband for years, and her friends back home without the growth.
I’d like to believe my observations are correct and the wow, ah ha, grateful for this amazing experience are in fact there and that in her telling of this story she chose to not include a commentary on it. Instead she allowed her actions to speak for themselves and lead us to this conclusion on our own and didn't need to write it out. To me, it would have felt more real if she had delved into it a little bit. I think she was trying to portray this when she called home and her friend was complaining about her relationship in the way same she had in the past. I think she was trying to make the point that when she got out of her own way, her own obsessions and was true to her own needs and sincere (showed empathy to others) that everything else in life works out, the universe supplies.
I related to her on many levels that I won’t get into as I’ve already mentioned more than I’d expected. One of my most relevant experiences was six months after leaving an abusive relationship in which my ex-boyfriend continued to try to stay in my life and was not going to stop battering me unless I did something drastic I signed up for and participated in a nine week semester at sea. It was on that boat, with wet ropes breaking through the soft skin of my palms and lonely nights of puking over the side of the boat that I picked up all the shattered pieces and put my self esteem back on my frame piece by piece until I was ready to face the world again and until I remembered that I was love and deserved love and that life had to be better than this and I was going to find a way for it to be. I have been grateful for that experience every day since then and that was over 13 years ago. That being said could you, or I, or Om could tell a similar story without going on a yearlong journey? Absolutely. Would it be as accepted and praised because it didn't fit into the Hollywood mold of happy ever after? Maybe. But I think the bigger discussion here is - Why do others want to hear a story like this? Why is it hard for us to feel genuine when suffering ceases and ends up as a happy ending? Because it feels too unreal, too unreachable? Because we cannot believe that there is another way of being?
I am almost embarrassed to say that I was frustrated when you came back from your retreat this summer and you were so centered and so at peace. You were so happy and so supportive of us all. You said so easily, all you have to do is sit and everything will settle. It was all too sudden for me. I said to Om one night that it just didn’t feel real that you were all of a sudden completely aware, and ok. As you shared more of how you got there I started to really understand that you were in fact there…. At this place of peace.
of course, in the great history of america there have been rulings that um there's never gonna be absolute consensus by every american and um there are those issues again like roe v wade where i believe are best held on a state level then addressed there so um you know going through the history of america there would be others, but...
well i would think of any again that could best be dealt with on a more local level maybe i would take issue with but um you know as a mayor and then as a governor and even as a vice president if i'm so privileged to serve i wouldn't be in a position of changing those things but in supporting the law of the land as it reads today.
------
Couric asked her what SCOTUS decisions other than Roe v. Wade she disagreed with... in the middle Couric asked, "Can you think of any?"
Thanks James, This is beautiful. I've shared it with a lot of people in my network that are union and a sad to say, pretty prejudice or not too sure about Obama. This man's passion is great. I'd love to be able to share that much passion to a room of people that large!
I hope you are well. I aplogize for not responding to your last post to me. I was struggling with the correct words and direction to go to next. I starting a few responses but never seemed to get anywhere. Those three lines are still so beautiful to me and continue to roll around in my head.
I am feeling the most grounded I've been and sitting still twice a day. At the same time I am pretty anxious with the economy so rocky and working for a start-up that sells primarly to financial services has me on my toes. I am mostly positive and focused on my skills and ability to adapt and pushing myself to rely on the good network i've created; but I have many moment through out the day of pure panic and fear. I have to remind myself to not dip my toe in that pity puddle and to stop and sit. How are you feeling?
hey megan. it's a scary time. to be as to-the-point as i can think to be : i'm sad. i'm not actually all that scared at the moment, though i keep using the term to refer to my feelings about what's going on in the world and, particularly, America just this moment. "it's terrifying," i say. and it is. i'm pretty stressed about Sarah Palin and John McCain, and quite frustrated about this economic hullabaloo. but really i feel pretty okay about those things right now. i'm actually pretty confident in Obama's campaign, and though it's going to be very difficult and messy for many people i know, i feel this economic explosion will end up an important turning point (it just feels like it's finally time for that to get going), and all the other muck looks, well... i dunno, maybe my glasses have turned rose-colored, but that's the way it seems to me at the moment. maybe it's that my focus has turned elsewhere, though usually when my focus turns elsewhere the other feelings don't magically turn brighter -- they just become momentarily less important to me.
either way, i'm sad. i've been thinking a lot lately about the relationship out of which "new love poem" and that now-famous line, "we were looking inside each other's looking," were written. it's not that i stopped thinking about it, and then started again. that is to say... i was thinking about all the poems i've written since "new love poem" and i felt so upset that i've written so many poems... and all of them expressing distance, or anger, or sadness, or ... not love. no love poem followed new love poem. i guess that's about right. yet, it feels so out-of-place to me. somehow so, i dunno, wrong. that's what i meant, in a way, when i wrote in "some say heaven:"
i wish i'd dream Your eyes, God, just once more, so they could haunt me awhile longer.
i'll never see a heaven that lasts, but i'm holding on... just awhile longer. it's Your eyes, God--- they saw me once.
for a while i wrote poems directly about my struggle with the dissolution of this beautiful relationship i had and had created. then i drifted away, and many of my poems began to speak to distance, to the inability to relate, somehow, for some reason... my walls, others' walls, fears, traumas... i tried working out desire in my poetry, but always the desire felt somehow vacant or point-less. i always came back to this relationship, when all other attempts at relationship felt insufficient, until it became a paradigm -- i generalized out to "God" from this specific relationship, and re-specified on God: "Have you noticed, God / that lately I objectify you?" and then i tried a new relationship, one which felt more and more to be regression -- even if necessary regression (now i've thankfully found my way out of that relationship). still my poetry spoke to the paradigm, ultimately landing me in a seat in an airplane writing the line, "i wish i'd dream Your eyes, God, / just once more".
and now, i've generalized out from God to "her" and re-specified on her. (see new poem: the taste of past tastings.) i miss the relationship; and, as the poem says, i'm holding on, just awhile longer. the thing that's nice is that it is, at least more so than at i believe any other time over these last ten months, sadness; and thus, not debilitating. i am holding on, and i'll have to look into that holding on and feel it and unearth it. but i'm not having depressive reactions, and i'm not finding myself unable to show up otherwise, so i can continue to be a bit patient with this one, i think.
but re: your post and my earlier remarks: i am glad to hear that you've been sitting consistently -- i haven't been, of course -- and i hope it continues to offer you windows into your panic and fear. those are difficult feelings, huh? struggles abound, but it sounds like you're doing a-okay. it's good to hear :) thanks for your post. let's hope the economic gods spare most from having to go through too much trouble.
James begins his poem the taste of past tastings with a proposition: “some tastes also have the taste of past tastings.” Well, this seems self-evident. In some instances, what we experience today feels like a similar experience we had in the past because the memory of a past experience is invoked. For James, it might be the taste of a “hot mulled cider” from apples like the ones he once picked in upstate New York. And for the next six lines he tells us what that taste feels like. And it is “familiar;” in other words, there is a memory of a similar experience. But, there is something else (and I will argue, something new). Also in this experience of tasting cider, a feeling of sadness is evoked. Something in James’ present experience of tasting shifts or, better yet, extends; that is, extends beyond the mere experience of taste: “…it tastes now/also of that past tasting. i can taste not only that i have/known this taste before: i can also taste that when.” And one way James emphasizes this extension is by changing the adverb “when” to a noun. “When” now refers not only to a time but to a whole experience happening in the space of that time. And so, now taste becomes not only a sensate experience, it is also a context for a present psychological experience emotionally triggered by a past event. James reconstructs the history of this taste in the context of a relationship with a woman who he had once shared this apple cider.
In this way, because it is now a psychological experience, it is not only “something also” but “something new,” as well. James’ present tasting has a psychological history which, by its very nature, changes his present experience into a new experience despite the actual familiarity (similarity) of the taste: For, to paraphrase the pre-classical philosopher Heraclitus, “you can’t step into the same cider twice."
I am curious as to why James didn’t separate out the lines and create a new stanza after “known this taste before: "i can also taste that when.” A pause might have given the reader a rest to prepare for the psychological or relational narrative that follows. And this I find particularly relevant when, further down, there is a line break that takes the reader yet in a different direction. Nonetheless, this next section is powerful in its close looking at the emotional intricacies of intimacy or, I should say, a hoped-for intimacy. It reminds me in an analogous way of Robert Frost’s successful effort to capture the sound and feeling of people talking together in his strange poem, `Home Burial.’ “In his reliving her look in this taste,” James brings us into the sound and feeling of a failed attempt to find a sustained intimacy -- not a disconnection, like in his poem `distraction.’ But, the action of the language draws the reader into the interiority of failed intimacy, the “uncloaking” (an awkward word for an emotional opening up) of the self-protective layers of fear and even physical space. For James, it is a space opening from the “hiddenness she left for me/to move more slowly into her” in an effort to, not merely make meaning, but use meaning to create understanding, the sine qua non of intimacy. This intimacy is “the way/she looked at me when she let me look at her/and when she let her look mirror my need to see,/the intimation of some me-to-be, that hint, that taste.” I love this phrase: “the intimation of some me-to-be, that hint, that taste.” Is that not exactly what relationship is, the vehicle for becoming? These last words are more than clever; they actually show us exactly what poetry is. A.R. Ammons' comparison of poetry to walking will make my point:
“You could ask what walks are good for…. Walks are useless. So are poems…. A walk doesn’t mean anything, which is a way of saying that to some extent it means anything you can make it mean – and always more than you make it mean…. Only uselessness is empty enough for the presence of so many uses…. Only uselessness can allow the walk to be totally itself.” (italics mine)
“That taste,” refers to itself and so many other things, most of which is the evolution of physical taste toward the taste of love. This is the meaning of metaphor: to bridge. Even the adjective “that” bridges the experience to the poem that is both part of the experience and a reflection of the experience.
And now, what makes this poem move beyond even its own uselessness, and which allows it to be totally itself.
yet i also taste a different tasting. her look was absent, that i may never see her eyes again. waiting, drinking hot mulled cider that i wished to be drinking with her, and though i can taste that earlier taste now, and her look and all that subtle starving presence, never almost, i can taste, almost came. and now perhaps that never has arrived. and yet, unfortunately, i can taste it the never-againness of this taste i taste in this very mug.
Here is the something new, the introspective self-awareness glimmering over fading (and, intermittently, creeping) time which brings about “a different tasting.” Against the resistance of one’s own starving nostalgic presence (and here starving and nostalgia are synonymous), “never almost” which “almost came” “perhaps” (an ironically Elliotesque term) has finally come in the grieving taste of tears emptying out but for only the taste left.
I have to disagree with James on his experience of his poems being devoid of love: “i was thinking about all the poems i've written since "new love poem" and i felt so upset that i've written so many poems... and all of them expressing distance, or anger, or sadness, or ... not love.” You can throw all kinds of arguments at me (which I always welcome :) but I tell you that all the poems since “new love poems” indeed express love, even if they ostensibly are not about love. Distance, anger and sadness do express love necessarily because they reflect a longing for love, a desire for the taste of love. Of course, James might argue (and correctly) that there hasn’t been anyone since he wrote a poem expressing his love to, but then he perhaps (that word again :) could have phrased it differently. How we express love is not always what love ostensibly looks like. Sharing one’s suffering and creating a poem itself are two forms of great love, and in James’ poem that expression is just that.
With that said, speaking of Frost (in my last post), I would like to share my favorite Frost love poem, `The Silken Tent’ (`To Earthward’ is a close second).
The Silken Tent
She is as in a field a silken tent
At midday when the sunny summer breeze
Has dried the dew and all its ropes relent,
So that in guys it gently sways at ease,
And its supporting central cedar pole,
That is its pinnacle to heavenward
And signifies the sureness of the soul,
Seems to owe naught to any single cord,
But strictly held by none, is loosely bound
By countless silken ties of love and thought
To every thing on earth the compass round,
And only by one's going slightly taut
In the capriciousness of summer air
Is of the slightest bondage made aware.
Silken Tent is a sonnet. The sonnet form, as we know, has a history rife with love. It derives from the Italian word sonetto, which means "little song." What greater gift than to give an object of love (or desire) a little song? Frost saw poetry as “words that have become deeds.” I very much agree with Frost in that a poem (like a theory for me :) is an experience or a becoming an experience through the reader it inspires into action (thinking). Frost opens his poem with “She is as…”, which creates both a softening and expanding quality of being or presence, and yet self-contained, as well, in a way a refuge or sanctuary is. That the poem starts off with “She” allows the poet to let go of the need to mention her again, for she is ever-present and suspended, much like the tent itself.
Frost’s mastery of language is his ability to go under language in the most subtle of ways and he achieves this here brilliantly. The tent itself is found in the deep body of the poem – in its structure and sound, meter and rhythm and single uninterrupted sentence, the integration of expansiveness and containment the tent symbolizes. From the second line on, the sturdiness and centeredness of “midday” followed by “sunny summer breeze” and then followed again with “dried the dew” and “ropes relent” in the third line, there is a pattern of motion expanding and contracting like a heart beating in love.
And though the poem (like the trust of deep love) makes us feel the safety and protectiveness of her love, it simultaneously tells us she “sways at ease,” “Seems to owe naught to any single cord,” is “strictly held by none,“ and is “loosely bound/ By countless silken ties of love and thought/ To every thing on earth the compass round.” It is this far-reaching seemingly unconditional quality that brings the expansiveness of her love closely in view.
And here, in the last lines, do we find the true power of this poem:
And only by one's going slightly taut
In the capriciousness of summer air
Is of the slightest bondage made aware.
Against the expansiveness of love is the solidity of love grounded in the committed and responsible act(ual), the very foundation of faith and clarity of heart and mind and action – and perhaps, even wisdom – where the sense of being-part-of is not in actuality bondage, but a true freedom, because it is made of choice, the choice to love.
Cats have nine lives, Emily has 95
Emily Happy 95th Birthday, my do you look so very good for your age and all of your friends have gotten all dolled up for the occasion. This poor man though he looks bored and uninterested in the idle chatter of the woman and their coffee clutch. Intimacy damn it, he wants intimacy! I am having a tough week my father-in-law is in the hospital and his disabled wife has been home alone. I thought I could swoop in and help make everything all better. But last I checked I dissolved that red cape into the same pool with my armour and the realization that I can't make it all better overnight and that the responsiblity of aging parents is so much greater than I is painfully settling in. My office also seems to be a bit more stressed than usual this week. I couldn't get myself to yoga last night, but I did sit an extra time this morning to help wiggle myself out of it. I'll get there, just might take me a few more days to have some clear thoughts to respond to everyone. And Arnold, Thanks for sharing the pictures and for stopping by. What is the first thing that came to your mind when you attended Emily's party?
Megan
I don't know if this will help - but when I am trying to work with caregivers I remind them that there are no perfect solutions - there are only options to choose from. Sometimes that justs help to bring them face to face with the problem and the fact that some things can't be fixed. We just make choices.
Hang in there.
Thanks Emily
Thanks Emily, That does help a lot. I will use this to help me keep a better perspective. I guess what I didn't get at first was the amount of time it might take to figure out and navigate a proper situation for them both.
Anyone have earplugs I can borrow?
All the important UN visitors this week, like the president of Iran, are staying at the hotel across the street from my office. We are surrounded by security, black cars and trucks, barricades. You can't walk out the door to pick up a sandwich without taking notice of at least ten guys dressed in black and quite frankly I am really tired of the dirty looks for just going to and from my office. There has been protestors yelling Free Tibet for four long days now. I work on the 32nd floor and can still hear them roar, over and over again. At first I was talking to a colleague how great it is that they can express themselves and have the freedom to protest. We walked down to see their signs to collect their papers and to recognize their message on the first day. Now into our fourth day I am weary of the noise. I'd like to walk down to the corner and invite them in. They can have some tea and relax, they can sit with my behind my desk with me. We can have a great time if they would just please stop yelling so I can get some work done! I am just weary in general so that doesn't help. I am tired and frustrated, overwhelmed and cranky. I am trying to be patient and let it pass, but it bubbles up on me in spurts and this morning I actually lost track of an entire 45 minutes. I sat on a stool to put on my shoes and I am not sure where the time went but 45 minutes had passed and I was still sitting on that stool without my shoes on. Perhaps I am losing my mind, or I am being hijacked by my unconscious thoughts. Who knows.
Em
Hey Emily, I don't think they are coming back. We'll have to ask a question ourselves. I feel like this is a game of double-dutch, we have to find the right timing and place to jump in to keep the ropes in balance and the rhythm of the song going.
On a different note, I finished the book Eat, Pray, Love Sunday night it was a good treat after a two long hikes in the rain up at Harriman and a long bath. I know you said you read it and I'd love to chat about it. I feel differently now than when I first began reading it.
megan - eat pray, love
I was very disappointed in the book by the end. No problems with the writing; she is clearly a talented writer that brings you into her experience. But what I was left with was the fact that this was a very privileged woman who had the time and money to go on her “spiritual journey,” and in the end finds love. It seemed to offer the promise of something much deeper. I finished saying to myself, “ Gee, wouldn’t it be nice if I had the money to pick up and go to Italy, India, and travel someplace exotic to find myself, find a lover and then make millions telling about it. It just seemed a little too neat.
If I sound a little cranky - well, I am today. Just a treat for myself.
Emily, I agree
I agree, and I can see how you were disappointed in the end of the book. It does feel a little too fairy tale and neat in its packaging. There is definitely a difference in the last section on Indonesia. I believe the difference was that she stopped sharing as much of her internal thoughts and started to just tell a story while in Indonesia; a story of the new relationships and love affair as a result of her new outlook and place in the world. She was clearly dealing with fewer demons, meditating twice a day and practicing her new approach to suffering. But she stopped sharing her journey from the same perspective.
I felt a similar disappointed when there wasn’t this type of sentiment in the postscript (is that what you call it?) Final Recognition and Reassurance. Very few times in life does someone get the luxury to drop everything, travel and work to repair and renew behavior in a radical way in some pretty amazing places. Very few times this type of journey ends with a lover in Bali that says, “Well, I Iove you, I want to spoil you and I want you to live in four different very desirable locations with you and we'll work it out.” (I am sure there were still struggles with this scenario and I am sure like all of us she struggles with practicing and staying present every day. But I regress and that is beside the point).
I think my problem with the story as a whole; more so in the beginning is that she doesn't have awareness. And maybe somehow this ties into what you are saying about it feeling too neat. I am not sure just saying she doesn’t have awareness can explain it well enough. Let me know but here is my take. Although there are many, 'guides' and 'teachers' that cross her path and aid in her evolutionary growth on this journey she doesn't have the awareness to understand the scope. Without that awareness how can she step back and stand apart from the experience and see the change from a fundamental standpoint. She was more of just living in it. I am not saying that she didn’t make great strides and accomplish great growth. There never felt like this wow moment. Wow, I am lucky, wow, I am grateful for this journey and wow, I am amazed by how far I’ve have come. There was never an understanding of the privilege of such an experience. Even though I say this I did feel this shift of belief and realization in her actions. She couldn't of successfully had a healthy relationship with Felipe or stopped accommodating Wayan, as she had her husband for years, and her friends back home without the growth.
I’d like to believe my observations are correct and the wow, ah ha, grateful for this amazing experience are in fact there and that in her telling of this story she chose to not include a commentary on it. Instead she allowed her actions to speak for themselves and lead us to this conclusion on our own and didn't need to write it out. To me, it would have felt more real if she had delved into it a little bit. I think she was trying to portray this when she called home and her friend was complaining about her relationship in the way same she had in the past. I think she was trying to make the point that when she got out of her own way, her own obsessions and was true to her own needs and sincere (showed empathy to others) that everything else in life works out, the universe supplies.
I related to her on many levels that I won’t get into as I’ve already mentioned more than I’d expected. One of my most relevant experiences was six months after leaving an abusive relationship in which my ex-boyfriend continued to try to stay in my life and was not going to stop battering me unless I did something drastic I signed up for and participated in a nine week semester at sea. It was on that boat, with wet ropes breaking through the soft skin of my palms and lonely nights of puking over the side of the boat that I picked up all the shattered pieces and put my self esteem back on my frame piece by piece until I was ready to face the world again and until I remembered that I was love and deserved love and that life had to be better than this and I was going to find a way for it to be. I have been grateful for that experience every day since then and that was over 13 years ago. That being said could you, or I, or Om could tell a similar story without going on a yearlong journey? Absolutely. Would it be as accepted and praised because it didn't fit into the Hollywood mold of happy ever after? Maybe. But I think the bigger discussion here is - Why do others want to hear a story like this? Why is it hard for us to feel genuine when suffering ceases and ends up as a happy ending? Because it feels too unreal, too unreachable? Because we cannot believe that there is another way of being?
I am almost embarrassed to say that I was frustrated when you came back from your retreat this summer and you were so centered and so at peace. You were so happy and so supportive of us all. You said so easily, all you have to do is sit and everything will settle. It was all too sudden for me. I said to Om one night that it just didn’t feel real that you were all of a sudden completely aware, and ok. As you shared more of how you got there I started to really understand that you were in fact there…. At this place of peace.
(sarah palin fatigue)
of course, in the great history of america
there have been rulings that
um
there's never gonna be absolute consensus by every american
and
um
there are those issues
again like roe v wade
where i believe are best held on a state level then addressed there
so
um
you know
going through the history of america there would be others, but...
well
i would think of any again that could best be dealt with on a more local level
maybe i would take issue with
but
um
you know
as a mayor and then as a governor
and even as a vice president if i'm so privileged to serve
i wouldn't be in a position of changing those things
but in supporting the law of the land
as it reads today.
------
Couric asked her what SCOTUS decisions other than Roe v. Wade she disagreed with... in the middle Couric asked, "Can you think of any?"
you never would have known.
Sarah Palin,
Governor and Poet.
know hope
beautiful.
thanks james
Thanks James, This is beautiful. I've shared it with a lot of people in my network that are union and a sad to say, pretty prejudice or not too sure about Obama. This man's passion is great. I'd love to be able to share that much passion to a room of people that large!
I hope you are well. I aplogize for not responding to your last post to me. I was struggling with the correct words and direction to go to next. I starting a few responses but never seemed to get anywhere. Those three lines are still so beautiful to me and continue to roll around in my head.
I am feeling the most grounded I've been and sitting still twice a day. At the same time I am pretty anxious with the economy so rocky and working for a start-up that sells primarly to financial services has me on my toes. I am mostly positive and focused on my skills and ability to adapt and pushing myself to rely on the good network i've created; but I have many moment through out the day of pure panic and fear. I have to remind myself to not dip my toe in that pity puddle and to stop and sit. How are you feeling?
sadness + holding on
hey megan. it's a scary time. to be as to-the-point as i can think to be : i'm sad. i'm not actually all that scared at the moment, though i keep using the term to refer to my feelings about what's going on in the world and, particularly, America just this moment. "it's terrifying," i say. and it is. i'm pretty stressed about Sarah Palin and John McCain, and quite frustrated about this economic hullabaloo. but really i feel pretty okay about those things right now. i'm actually pretty confident in Obama's campaign, and though it's going to be very difficult and messy for many people i know, i feel this economic explosion will end up an important turning point (it just feels like it's finally time for that to get going), and all the other muck looks, well... i dunno, maybe my glasses have turned rose-colored, but that's the way it seems to me at the moment. maybe it's that my focus has turned elsewhere, though usually when my focus turns elsewhere the other feelings don't magically turn brighter -- they just become momentarily less important to me.
either way, i'm sad. i've been thinking a lot lately about the relationship out of which "new love poem" and that now-famous line, "we were looking inside each other's looking," were written. it's not that i stopped thinking about it, and then started again. that is to say... i was thinking about all the poems i've written since "new love poem" and i felt so upset that i've written so many poems... and all of them expressing distance, or anger, or sadness, or ... not love. no love poem followed new love poem. i guess that's about right. yet, it feels so out-of-place to me. somehow so, i dunno, wrong. that's what i meant, in a way, when i wrote in "some say heaven:"
i wish i'd dream Your eyes, God,
just once more, so they could haunt
me awhile longer.
i'll never see a heaven that lasts,
but i'm holding on... just awhile longer.
it's Your eyes, God--- they saw me once.
for a while i wrote poems directly about my struggle with the dissolution of this beautiful relationship i had and had created. then i drifted away, and many of my poems began to speak to distance, to the inability to relate, somehow, for some reason... my walls, others' walls, fears, traumas... i tried working out desire in my poetry, but always the desire felt somehow vacant or point-less. i always came back to this relationship, when all other attempts at relationship felt insufficient, until it became a paradigm -- i generalized out to "God" from this specific relationship, and re-specified on God: "Have you noticed, God / that lately I objectify you?" and then i tried a new relationship, one which felt more and more to be regression -- even if necessary regression (now i've thankfully found my way out of that relationship). still my poetry spoke to the paradigm, ultimately landing me in a seat in an airplane writing the line, "i wish i'd dream Your eyes, God, / just once more".
and now, i've generalized out from God to "her" and re-specified on her. (see new poem: the taste of past tastings.) i miss the relationship; and, as the poem says, i'm holding on, just awhile longer. the thing that's nice is that it is, at least more so than at i believe any other time over these last ten months, sadness; and thus, not debilitating. i am holding on, and i'll have to look into that holding on and feel it and unearth it. but i'm not having depressive reactions, and i'm not finding myself unable to show up otherwise, so i can continue to be a bit patient with this one, i think.
but re: your post and my earlier remarks: i am glad to hear that you've been sitting consistently -- i haven't been, of course -- and i hope it continues to offer you windows into your panic and fear. those are difficult feelings, huh? struggles abound, but it sounds like you're doing a-okay. it's good to hear :) thanks for your post. let's hope the economic gods spare most from having to go through too much trouble.
THE PHENOMENOLOGY OF TASTE AND THE RESISTANCE OF NOSTALGIA
James begins his poem the taste of past tastings with a proposition: “some tastes also have the taste of past tastings.” Well, this seems self-evident. In some instances, what we experience today feels like a similar experience we had in the past because the memory of a past experience is invoked. For James, it might be the taste of a “hot mulled cider” from apples like the ones he once picked in upstate New York. And for the next six lines he tells us what that taste feels like. And it is “familiar;” in other words, there is a memory of a similar experience. But, there is something else (and I will argue, something new). Also in this experience of tasting cider, a feeling of sadness is evoked. Something in James’ present experience of tasting shifts or, better yet, extends; that is, extends beyond the mere experience of taste: “…it tastes now/also of that past tasting. i can taste not only that i have/known this taste before: i can also taste that when.” And one way James emphasizes this extension is by changing the adverb “when” to a noun. “When” now refers not only to a time but to a whole experience happening in the space of that time. And so, now taste becomes not only a sensate experience, it is also a context for a present psychological experience emotionally triggered by a past event. James reconstructs the history of this taste in the context of a relationship with a woman who he had once shared this apple cider.
In this way, because it is now a psychological experience, it is not only “something also” but “something new,” as well. James’ present tasting has a psychological history which, by its very nature, changes his present experience into a new experience despite the actual familiarity (similarity) of the taste: For, to paraphrase the pre-classical philosopher Heraclitus, “you can’t step into the same cider twice."
I am curious as to why James didn’t separate out the lines and create a new stanza after “known this taste before: "i can also taste that when.” A pause might have given the reader a rest to prepare for the psychological or relational narrative that follows. And this I find particularly relevant when, further down, there is a line break that takes the reader yet in a different direction. Nonetheless, this next section is powerful in its close looking at the emotional intricacies of intimacy or, I should say, a hoped-for intimacy. It reminds me in an analogous way of Robert Frost’s successful effort to capture the sound and feeling of people talking together in his strange poem, `Home Burial.’ “In his reliving her look in this taste,” James brings us into the sound and feeling of a failed attempt to find a sustained intimacy -- not a disconnection, like in his poem `distraction.’ But, the action of the language draws the reader into the interiority of failed intimacy, the “uncloaking” (an awkward word for an emotional opening up) of the self-protective layers of fear and even physical space. For James, it is a space opening from the “hiddenness she left for me/to move more slowly into her” in an effort to, not merely make meaning, but use meaning to create understanding, the sine qua non of intimacy. This intimacy is “the way/she looked at me when she let me look at her/and when she let her look mirror my need to see,/the intimation of some me-to-be, that hint, that taste.” I love this phrase: “the intimation of some me-to-be, that hint, that taste.” Is that not exactly what relationship is, the vehicle for becoming? These last words are more than clever; they actually show us exactly what poetry is. A.R. Ammons' comparison of poetry to walking will make my point:
“You could ask what walks are good for…. Walks are useless. So are poems…. A walk doesn’t mean anything, which is a way of saying that to some extent it means anything you can make it mean – and always more than you make it mean…. Only uselessness is empty enough for the presence of so many uses…. Only uselessness can allow the walk to be totally itself.” (italics mine)
“That taste,” refers to itself and so many other things, most of which is the evolution of physical taste toward the taste of love. This is the meaning of metaphor: to bridge. Even the adjective “that” bridges the experience to the poem that is both part of the experience and a reflection of the experience.
And now, what makes this poem move beyond even its own uselessness, and which allows it to be totally itself.
yet i also taste a different tasting. her look was absent,
that i may never see her eyes again. waiting, drinking
hot mulled cider that i wished to be drinking with her,
and though i can taste that earlier taste now, and her look
and all that subtle starving presence, never almost,
i can taste, almost came. and now perhaps that never
has arrived. and yet, unfortunately, i can taste it
the never-againness of this taste i taste in this very mug.
Here is the something new, the introspective self-awareness glimmering over fading (and, intermittently, creeping) time which brings about “a different tasting.” Against the resistance of one’s own starving nostalgic presence (and here starving and nostalgia are synonymous), “never almost” which “almost came” “perhaps” (an ironically Elliotesque term) has finally come in the grieving taste of tears emptying out but for only the taste left.
JOY + LETTING GO
I have to disagree with James on his experience of his poems being devoid of love: “i was thinking about all the poems i've written since "new love poem" and i felt so upset that i've written so many poems... and all of them expressing distance, or anger, or sadness, or ... not love.” You can throw all kinds of arguments at me (which I always welcome :) but I tell you that all the poems since “new love poems” indeed express love, even if they ostensibly are not about love. Distance, anger and sadness do express love necessarily because they reflect a longing for love, a desire for the taste of love. Of course, James might argue (and correctly) that there hasn’t been anyone since he wrote a poem expressing his love to, but then he perhaps (that word again :) could have phrased it differently. How we express love is not always what love ostensibly looks like. Sharing one’s suffering and creating a poem itself are two forms of great love, and in James’ poem that expression is just that.
With that said, speaking of Frost (in my last post), I would like to share my favorite Frost love poem, `The Silken Tent’ (`To Earthward’ is a close second).
The Silken Tent
She is as in a field a silken tent
At midday when the sunny summer breeze
Has dried the dew and all its ropes relent,
So that in guys it gently sways at ease,
And its supporting central cedar pole,
That is its pinnacle to heavenward
And signifies the sureness of the soul,
Seems to owe naught to any single cord,
But strictly held by none, is loosely bound
By countless silken ties of love and thought
To every thing on earth the compass round,
And only by one's going slightly taut
In the capriciousness of summer air
Is of the slightest bondage made aware.
Silken Tent is a sonnet. The sonnet form, as we know, has a history rife with love. It derives from the Italian word sonetto, which means "little song." What greater gift than to give an object of love (or desire) a little song? Frost saw poetry as “words that have become deeds.” I very much agree with Frost in that a poem (like a theory for me :) is an experience or a becoming an experience through the reader it inspires into action (thinking). Frost opens his poem with “She is as…”, which creates both a softening and expanding quality of being or presence, and yet self-contained, as well, in a way a refuge or sanctuary is. That the poem starts off with “She” allows the poet to let go of the need to mention her again, for she is ever-present and suspended, much like the tent itself.
Frost’s mastery of language is his ability to go under language in the most subtle of ways and he achieves this here brilliantly. The tent itself is found in the deep body of the poem – in its structure and sound, meter and rhythm and single uninterrupted sentence, the integration of expansiveness and containment the tent symbolizes. From the second line on, the sturdiness and centeredness of “midday” followed by “sunny summer breeze” and then followed again with “dried the dew” and “ropes relent” in the third line, there is a pattern of motion expanding and contracting like a heart beating in love.
And though the poem (like the trust of deep love) makes us feel the safety and protectiveness of her love, it simultaneously tells us she “sways at ease,” “Seems to owe naught to any single cord,” is “strictly held by none,“ and is “loosely bound/ By countless silken ties of love and thought/ To every thing on earth the compass round.” It is this far-reaching seemingly unconditional quality that brings the expansiveness of her love closely in view.
And here, in the last lines, do we find the true power of this poem:
And only by one's going slightly taut
In the capriciousness of summer air
Is of the slightest bondage made aware.
Against the expansiveness of love is the solidity of love grounded in the committed and responsible act(ual), the very foundation of faith and clarity of heart and mind and action – and perhaps, even wisdom – where the sense of being-part-of is not in actuality bondage, but a true freedom, because it is made of choice, the choice to love.
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