I’ve long enjoyed what are referred to as “meta” art forms: works that take their very medium as their subject. So, for instance, there’s fiction about fiction (say, Borges’s stories) painting about painting (like Jackson Pollack’s drip-action canvasses), film about film (Fellini’s 8 1/2 comes first to mind).
What McEntyre brings to this messy table are two decades of experience teaching literature to medical students and other health care professionals in training, as well as the wisdom garnered from her own encounters with physicians as their patient. Befitting the author of the justly celebrated Caring for Words in a Culture of Lies, her approach is highly practical, offering suggestions on how to steward that most precious resource — language — within a deeply flawed institution.
Are there other ways of responding to what’s unknown? Might we even train ourselves to recognize the human mind’s habit of perceiving as threats those things, human and more than human, that do not conform to the world as we know it?
God’s reading of us, while rooted in flesh and bone, is not limited to them. Or better said: flesh and bone, in God’s eyes, provide an absolutely reliable witness of our moral health (or lack thereof). No mystery there: God made human flesh and bone that way, as unambiguous representatives of who we are and of what we have made of ourselves.
I want the sheen of the easy finish. Don’t I deserve it, by now? But that’s the dishonesty everywhere now, from The New York Times to CPAC. Instead, the task remains, to take the uneven thread of words, just as with the backstitches of embroidery, and pull them out, and pull them back in—this is not just writing or sewing, but soul-making, too.
I’ve never really understood why Georg Trakl talks about foreheads so much. I mean, you can imagine the word coming up once in a poem for some reason or other. I can even see that there is something fascinating about foreheads in that they are both of and not of the face. That’s to say, you don’t generally get a face without a forehead.
What I’ve realized since my son’s birthday is that Rachel Carson’s Under the Sea Wind did for me something like what I hope the books I bought for my sons will do for them someday: or it is the adult version of it, the fantasy that is like yet unlike that of the child. How does Carson accomplish this transfiguration of the natural world?
None of my raised-bed boxes are even, nor my hand-tied trellises straight. I get too close to a thing, to where I can’t see its crookedness. Aside from human beings, you need to step back aways to see the crookedness in a thing. I wish I were a step-back person. Crookedness in a trellis you can fix before too many ties go in. But crookedness in man? What’s the point of seeing it?
In my pre-computer days, when I wanted to copy out a favorite poem to memorize it, just moving it through my brain to my hand already made it part of me. Keyboarding favorite poems, which is my current practice, just doesn’t do this. Then of course there’s the ultimate laziness of copy/pasting a poem from a website.
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.
“It was good to be in Chicago.”
What comes next? How about this: “On the way to Santiago.”
That’s Kenneth Koch in Making Your Own Days: The Pleasures of Reading and Writing Poetry. He’s demonstrating how one line of a poem leads to another.
He liked to be called El Santo (Spanish for “the Saint”). In almost anyone else on the planet it would be considered a sort of spiritual vanity or pretension. But in the case of Monsignor Lorenzo Albacete, it was both a joke and a piece of deep theological wisdom.
Howard Nemerov, far from an absolutist about form, meter, and rhyme, nevertheless
preferred to write within certain boundaries of poetic tradition. “I like filling out the old forms,” he’d say with a bemused smile as if referring to his income tax returns, “they keep me from being stupider than the law allows.”
Stories do not end. The teller of the tale falls silent. If the telling is done well, we feel we’ve truly seen into the world where fiction occurs, and when the teller of the tale falls silent we sense that the story goes on, just as it extends back further than we perceive before the teller began the tale.
Here, in his latest volume of poetry—Teaching the Soul to Speak—Murray Bodo is saying some goodbyes. Bodo is in his eighties, as he mentions in several of the poems. His yearly pilgrimages to Assisi are apparently over, but the city and all that it has meant to him stay alive in his poems, filling an entire section of the book.
“You are not their mother,” my godmother Shatzi says, as she has from the very moment—a scant year ago—that I became engaged to their father, a widower with eight children: three grown, three at home, two back-and-forth in university. It is quarantine winter—gray Virginia here, icy Quebec at her home far away.
I want to write about a certain kind of prose. It is the kind of prose that gets lost in itself. The kind of writing that tumbles head over heels and threatens to drown in its own wake. But not quite. The kind of prose that drowns completely is not so interesting. And the prose that never gets lost is not so interesting either.
I’m living. I’m dying. I’m coming to an end. As I do, my wish is this: I’d like to stay awake, I’d like to pay attention as I live through the days between now and my last day at the university, between now and my last day, my last hour, my last human breath.
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.
Not that long ago, I was talking to somebody—at the farmer’s market, of all things—on the hot, somewhat pundit-y subject of “cultural appropriation.” I remarked to a friend that I was in big trouble, because all my favorite cultures had been appropriated.