OFFERING
I made a poem going
to sleep last night, woke
in sunlight, it was clean forgotten.
If it was any good, gods
of the great darkness
where sleep goes and farther
death goes, you not named,
then as true offering
accept it.
-Ursula Le Guin
What Dorothy Parker describes in her poem below reminds me of what C.S. Lewis called sehnsucht, the heart’s longing, seemingly for its home – in God. These episodes often happen at moments when we experience something very good or beautiful, and realize deep in ourselves that it doesn’t quite satisfy, but only reveals our homesickness.
In The Weight of Glory Lewis describes this aching in our heart:
“In speaking of this desire for our own far off country, which we find in ourselves even now, I feel a certain shyness. I am almost committing an indecency. I am trying to rip open the inconsolable secret in each one of you—the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence….
“We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a name. Our commonest expedient is to call it beauty and behave as if that had settled the matter. Wordsworth’s expedient was to identify it with certain moments in his own past. But all this is a cheat. If Wordsworth had gone back to those moments in the past, he would not have found the thing itself, but only the reminder of it; what he remembered would turn out to be itself a remembering.
“…These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshipers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never visited.”
TEMPS PERDU
I never may turn the loop of a road
Where sudden, ahead, the sea is lying,
But my heart drags down with an ancient load–
My heart, that a second before was flying.
I never behold the quivering rain–
And sweeter the rain than a lover to me–
But my heart is wild in my breast with pain;
My heart, that was tapping contentedly.
There’s never a rose spreads new at my door
Nor a strange bird crosses the moon at night
But I know I have known its beauty before,
And a terrible sorrow along with the sight.
The look of a laurel tree birthed for May
Or a sycamore bared for a new November
Is as old and as sad as my furtherest day–
What is it, what is it, I almost remember?
-Dorothy Parker
This lighthearted (or sardonic – see the comments below) poem by Philip Larkin reminds me of a short conversation I had with a Christian friend about the possibility of my developing dementia in my old age, to the point where I would forget God. She gently rebuked me for not remembering that it is in my spirit, my nous, that I know God most truly, and I would never forget him, no matter what happened to my fragile intellect.
One aspect of the mind that I notice in the poem is its coldness, as it’s likened to snow. By contrast, we might think of those whose hearts are warmed by the love of God. If you have people like that around, radiating into your life, it doesn’t really matter what facts they have forgotten.
THE WINTER PALACE
Most people know more as they get older:
I give all that the cold shoulder.
I spent my second quarter-century
Losing what I had learnt at university.
And refusing to take in what had happened since.
Now I know none of the names in the public prints,
And am starting to give offence by forgetting faces
And swearing I’ve never been in certain places.
It will be worth it, if in the end I manage
To blank out whatever it is that is doing the damage.
Then there will be nothing I know.
My mind will fold into itself, like fields, like snow.
-Philip Larkin
BORED
All those times I was bored
out of my mind. Holding the log
while he sawed it. Holding
the string while he measured, boards,
distances between things, or pounded
stakes into the ground for rows and rows
of lettuces and beets, which I then (bored)
weeded. Or sat in the back
of the car, or sat still in boats,
sat, sat, while at the prow, stern, wheel
he drove, steered, paddled. It
wasn’t even boredom, it was looking,
looking hard and up close at the small
details. Myopia. The worn gunwales,
the intricate twill of the seat
cover. The acid crumbs of loam, the granular
pink rock, its igneous veins, the sea-fans
of dry moss, the blackish and then the graying
bristles on the back of his neck.
Sometimes he would whistle, sometimes
I would. The boring rhythm of doing
things over and over, carrying
the wood, drying
the dishes. Such minutiae. It’s what
the animals spend most of their time at,
ferrying the sand, grain by grain, from their tunnels,
shuffling the leaves in their burrows. He pointed
such things out, and I would look
at the whorled texture of his square finger, earth under
the nail. Why do I remember it as sunnier
all the time then, although it more often
rained, and more birdsong?
I could hardly wait to get
the hell out of there to
anywhere else. Perhaps though
boredom is happier. It is for dogs or
groundhogs. Now I wouldn’t be bored.
Now I would know too much.
Now I would know.
-Margaret Atwood
Here we have a different perspective on boredom from what I posted yesterday… and I love this poem. But I wondered about the line, “Now I would know too much.” Why would the narrator prefer less understanding — which is what I took as the meaning of knowing — ? In what way would it be too much? But then I mused on how well I relate to the feeling of regret, regret that there were any moments or hours in which I was not fully conscious, and thankful for my late husband. That of course would have been the perspective of a saint; if I had the chance to go back, I’m sure I would still not be one of those.
That made me think, maybe the line I didn’t get refers to the fact the narrator has come to realize, that “he” was not going to be around indefinitely, and that the loss of him would be incredibly painful. It’s the sort of intelligence that sinks deep into the soul, where the struggle to comprehend it continues indefinitely. Now, if she could go back, she would not be the same person, and the kind of knowledge she would take back to the past would be truly too much to bear in that “present.” It isn’t given to us humans to skip back and forth through time, which is a good thing, because just reading this poem demands more of my mind than is comfortable. Most of us can barely attend to the present, and excessive theorizing can be a sad waste of our hours.
That I should read the poem during the holiday season, when I’m already prone to missing my husband a LOT… well, it happened, and it’s okay. It prompted me to think of some specific moments and places, my own husband’s hands (easy for me to pay attention to), and habits, and “boring” things he would talk to me about. I even remember a time when I was sitting in a boat, trying really hard not to be bored.
Nowadays, I’m increasingly thankful for all the days that God gave me before, during and after the years I lived with him, though I can’t go back and be this thankful retroactively. And even if I was not always present in the moment, God was always present with me. That is a thought that wakes me up, again and again.
Gladsome Lights 