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.