Contemporary commentary on Shakespeare’s sonnets privileges physical love over spiritual love and tends to focus critical attention on “pervasive bawdy innuendo” in the sonnets. To the average contemporary reader, it’s all about the sex, of course, and more importantly, it’s about transgressive sex, which these days is so much in vogue. But I think the sonnets have a different story to tell, one in which the final two sonnets provide the key to unlock the deeper meaning of the entire sequence. But we will have to acknowledge spiritual love as a genuine human possibility in order to find it.
To describe Lindsey Royce’s new collection, The Book of John, as a poetic meditation on her husband’s death from stomach cancer underestimates the scope of her project. The book’s opening poem, “Where Do We Carry the Dead?,” hints at what the remainder undertakes: practices of remembrance, the persistence of love, the ultimate unknowability of the other, an anti-theodicy indicting what a later poem calls a “Godthing.”
If there are a thousand ways that we allow what we think are tensions between love and reason to destroy the one or the other, what a miracle it is that the poet has a vision of what is possible when a love and a reason hold together, and remain faithful. The poet says, “This is how transparency was constructed.”
In recent years Dante’s Comedy has been important to my thinking about high fantasy. That phrase, as far as I’m aware, appears for the first time in Western literature in the middle of the Purgatorio and at the very end of the Paradiso. L’alta fantasia. It was a turning point in the history of the idea of fantasy, because now fantasy could be high—that is, heaven-sent, theophany.
George and I met in English lit. grad school over a half-century ago. Those were (literally) heady days: our laughing conversation was a back-and-forth ping pong with each other’s metaphors; our first argument was over symbolism in Moby Dick. So when we married about a year later, it truly was (to borrow Shakespeare’s phrase) a “marriage of true minds.”
The reference is, of course, to Auden’s famous poem September 1, 1939. That poem contains the well-known line “we must love one another or die.” I say a well-known line, but that doesn’t really capture it now, does it? The line is more than well-known—it verges into the realm of sacred writings of our time, a scrap of prophecy left to us from the 20th century.