Articles by Guest Author

My children are both at peak fairy tale age—four and two—so I have been studying up on the classics: Grimms, Andersen, MacDonald. But I’ve noticed something I never saw before: in fairy tales, the mother is almost always absent. Sometimes she’s dead, as in “Beauty and the Beast” or “The Little Mermaid”; sometimes there is a wicked stepmother like in “Cinderella” or “Hansel and Gretel.” But even when she is physically present, she’s often emotionally absent.

How do we render onto paper not what we hear but what we cannot hear? What is the story for what we do not know? I believe we look for it in doubt, fear, and uncertainty.
I believe we experience that mystery in the questions, and not the answers, the silence and not the noise.

Several years ago, stretching a lunch break from my office in a courthouse downtown, I happened upon the full text of Solzhenitsyn’s Nobel lecture in a favorite used-book shop down the street. A beat-up little booklet, Russian and English on facing pages, our burly author on the front, staring into the camera with what I’m willing to suppose is inimitable frankness.

The great voluntary silences in literature baffle me. Some really did just give this art up. For Gerard Manley Hopkins, burning his poems put away childish things so he could focus on the priesthood. Philip Larkin felt the Muse had moved on and didn’t write for the last ten years of his life.

My son and I have recently been enjoying the Opposites poems of Richard Wilbur.… These whimsical little verses came from a game Wilbur played with his family, where one person would choose a word and another person had to come up with that word’s opposite. I’m not sure what the rules were, exactly, but judging from the collection, extra points must have been awarded for unexpected opposites.

Three Decembers ago, during the first week of Advent, I took my kids on a weekend trip to see their grandmother and my aunt and uncle. My aunt and uncle care for my grandmother, who was ninety-three at the time, and had recently started to lose her ability to speak.

It’s possible to read Rae Armantrout’s short poem ‘The Way’ as a kind of mock confessional epiphany poem that winds up with an actual (if ironized, meta-poetic) “epiphany” in which a postmodern artist estranged from the language-game of church-life finds a way to “be herself,” to be a poet, precisely by the kind of humorous, disjunctive play in the field of religious language that the poem itself performs.

Contrary to popular misconception, White’s essay “Once More to the Lake” doesn’t recount a nostalgic journey back to a vanished world, to a sacred place cherished in one’s memory. White’s revisit to “old haunts” actually comes closer to a nightmare, as he experiences throughout the week a series of disconcerting and uncanny sensations resulting from the initial illusion that the passage of time has somehow dissolved.

I’d argue that like a minor league baseball team, a minor character has the capacity to transcend their supporting role. Maybe even rebel against it. If the writer’s not careful—maybe the writer should sometimes take care not to be so careful—a minor character might become interesting in and of themselves and, in this way, offer the reader a necessary break now and then from the spotlight-hungry lead.

I can say, with joy and gratitude, that Monsignor Lorenzo Albacete was one of my mentors, and for a brief and very charmed time in my life, as I studied theology at the Pope John Paul II Institute in Washington DC in my early twenties, my way of seeing reality was permanently and dramatically changed by him. He gave me an infinite horizon.

Two poems of A. R. Ammons, in particular, have stayed with me as touchstones for over thirty years, the much-anthologized “Corsons Inlet” and his lesser-known poem on the nature of thought, “The Misfit.” These poems seem important to me as warnings against the rigidity of a closed mind.

Entanglement is a fascinating, mysterious, thing in physics. Entangled particles can be galaxies apart, yet they change each other’s states instantaneously, in spite of the fact that a signal between them might take millennia to arrive. You can think of entangled particles as those twins who simultaneously pick up the phone to call each other, if you can imagine the twins always picking up the phone at the same time.

Like the printing press, the internet seems to have created an almost idolatrous relationship with the written word. There are, of course, exceptions, but the tenor of most online discourse today is literal-minded and judgmental, with more than a whiff of the Salem Witch trials about it.

The desire that is typical of Blues—from which Bob Dylan draws so much of the spirit of his music as well as actual phrases—is the same we find in the prophets. The Lord God is a jealous and often a jilted lover.

I’ve been spending Covidtide cycling as much as possible. The mental rhythm of riding is calming, contemplative. Something gets in my head and I just keep turning it over. Since June 19th it’s been Bob Dylan’s new album, Rough and Rowdy Ways, released on that date.

When the May issue of Poetry dropped through my mail slot, it landed so I got to read the back cover first, lines from classicist/poet A.E. Stallings’s “Daedal”: “To build a labyrinth it takes / some good intentions, some mistakes.” Perfect, with allowances for the imperfect.

Whether I’m reading or writing, the page is a good place for me—the place where I feel most at home. Like my nightly prayer, it’s a solitary courtyard, but one with a potentially social dimension.

Chardin has always been one of my favorite painters. Now that so many of us are sequestered in our homes because of the coronavirus, his paintings seem particularly appropriate. Why?—because their subject matter is so often the stuff that surrounds us. Look at his painting “Still Life with Teapot, Grapes, Chestnuts, and a Pear” and the viewer finds exactly what its title says will be found: a teapot, grapes, chestnuts, and a pear.