V.I. Lenin — Vladimir! Ilyich! Ulyanov!

For International Workers Day — the real Labor Day, fuck you US government with that September bullshit — I decided to put together a post about some writers celebrating the great Vladimir Ilyich Ulyanov. Despite over a century of ghoulish attempts to besmirch him, he remains a shining beacon for the working class movement — one so bright, even the blind can see it, as attested in this first piece, “The Spirit of Lenin” by Helen Keller. Keller concludes her text with this rousing image:

Men vanish from earth leaving behind them the furrows they have ploughed. I see the furrow Lenin left sown with the unshatterable seed of a new life for mankind, and cast deep below the rolling tides of storm and lightning, mighty crops for the ages to reap.

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“Give me the splendid silent sun” – Whitman’s ode to life and dirge for the dead

Walt Whitman is unarguably the most influential poet of the past century and a half. Along with his contemporary Emily Dickinson, he essentially invented American poetry. Ezra Pound said that Whitman is “America’s poet … He is America.” Langston Hughes considered Whitman a personal hero, and responds directly to him in his powerful “I, Too,” in which he calls himself Whitman’s “darker brother.” The Beat poets drew inspiration not just from Whitman’s poetry, but from his vagrant lifestyle as well, with the proto-Beat Lawrence Ferlinghetti calling himself one of Whitman’s “wild children.” Pablo Neruda wrote in a 1972 New York Times op-ed that “We continue to live in a Whitmanesque age, seeing how new men and new societies rise and grow, despite their birth‐pangs. Walt Whitman, was the protagonist of a truly geographical personality: the first man in history to speak with a truly continental American voice, to bear a truly American name.”

Whitman looms nearly as large in Latin America. Neruda, in the same NYT piece, also wrote that Whitman “has taught me more than Spain’s Cervantes: in Walt Whitman’s work one never finds the ignorant being humbled, nor is the human condition ever found offended.” The Cuban national hero José Martí published essays on Whitman’s writing, and no less a talent than Jorge Luis Borges numbers Whitman among his influences. Not even the Atlantic Ocean could impede the spread of Whitman’s impact. Oscar Wilde considered him a utopic prophet of fraternal (i.e., gay) socialism. Bram Stoker corresponded with Whitman up until the poet’s death, and based the character of Dracula (who Stoker said in his notes represents “the quintessential man”) on Whitman.

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National Poetry Month Day 24: Letters to a Young Poet – Rilke’s ode to solitude

Rilke’s Letters to a Young Poet are required reading, and not just for poets, but for anyone engaged in difficult work — which includes creative pursuits, certainly, but also the work of being human. As Rilke writes, “it is clear we must hold to the difficult; everything that lives holds to it, everything in nature grows and defends itself according to its nature, and makes something of itself, tries to be itself at all costs, against all opposition. We know little, but that we must hold to what is weighty is a certainty that will never desert us; it is good to be solitary, since solitude is difficult; that a thing is difficult is all the more reason to choose it.”

Solitude is the key theme of these ten letters. Rilke says that “it becomes clearer and clearer that fundamentally this is not something one can choose or abandon. We are solitary. We can delude ourselves, and pretend it isn’t so, that’s all. But how much better to see that we are so, indeed to presume it.” This seems to contradict Aristotle’s famous maxim that man is by nature a social animal. But I think that both views are true — people are fundamentally communal creatures, but in the end, to indulge in a cliche, we’re born alone and we die alone. The tension between these two seemingly contradictory truths is precisely what gives human experience its shape, both its peaks and valleys. Or perhaps it is precisely the ultimate truth of our solitude — the fact that we are, in Rilke’s words, “unutterably alone, essentially, especially in the things most intimate and most important to us” — that leads us to yearn so strongly for social connection.

I think it’s more fruitful to oppose Rilke’s conception of solitude with the atomization inherent to modern life. If Rilke was already able to see this trend in his time — when his interlocutor, Franz Xaver Kappus, complains of feeling isolated from those around him, Rilke consoles him by pointing out “their activities are wretched, their vocations petrified and no longer connected to life”; later, when Kappus is feeling disillusioned by his life as a military officer, Rilke writes, “I know your profession is hard and conflicts with your being. . . . there is nothing I can say to reassure you, but simply suggest that all professions are like this, full of demands, and enmity against the individual, saturated, as it were, with the hatred of those who are dumb and sullen, locked in their solemn duties. The society in which you are forced to live is no more burdened with convention, prejudice and error than any other” — how much worse is the situation today?

This is in large part because although we are more isolated than ever, we’re also privy to an endless smorgasbord of consumer slop that keeps us from the hard but rewarding work of solitude. Why feel lonely when we can argue with people on Reddit, or get the quick dopamine fix of likes from a tweet? But in the end, these are pale facsimiles of real connections, and so we miss out on both meaningful socializing and the endless possibilities of true solitude.

Rilke’s emphasis on solitude isn’t a call to asceticism. He himself was far from anti-social, as his extensive correspondence attests to, to say nothing of his friends, lovers, and wife. But he also recognized “I, more than most, need those essential tools for writing: a modicum of silence, and solitude, and not too unfamiliar an hour.” And because he was willing and able to embrace being alone, he let himself cook, resulting in some of the finest poetry in the Western tradition.

Rilke sees love, like solitude, as one of the difficult (and therefore worthwhile) endeavors of a truly human existence. And one of the chief difficulties he recognizes, especially for young people, is that we use love to escape our solitude rather than as a safe haven to grow it and delve more deeply into it. Instead we throw ourselves at the object of our love, and lose ourselves in them, and when this unstable relationship inevitably falls apart, because we have sacrificed our solitude, the grieving process is even more difficult without that rich inner cave to take shelter in. I’ll end the post with a lengthy excerpt from Letter VII, because really I’m just poorly paraphrasing what Rilke says here, in one of the most poignant and profound passages ever written on the subject:

To love is good too: since love is difficult. For one person to love another: perhaps that is the most difficult thing granted us, the final test and proof, the work for which all other work is merely a preparation. That is why young people who are beginners in everything are not yet capable of love: it is something they must learn. With their whole being, their whole strength, gathered about their solitary, anxious, upwardly beating heart, they must learn to love. But the time to learn is always a long, secluded time, and so loving is, for a long time to come and far into life – solitude, a growing and deepening solitude for those who love. Love, to begin with, is not something that means merging, yielding, uniting with another (for what would a union of the unclarified, unfinished, incoherent be?), it is a sublime moment for individual maturation, to become something within oneself, to become a world, a world for oneself for another’s sake, it is a great and unrestrained claim on one, something that chooses the individual and summons one to vaster spaces. Only in that sense, as the task of labouring at oneself (‘hearkening and hammering day and night’) should the young employ the love that is granted them.

Yet this where the young often err, and most seriously: in that they (whose nature it is to be impatient) throw themselves at each other when love overwhelms them, and scatter themselves, just as they are, in all their carelessness, disorder, confusion…And what can happen thus? What can life do with this heap of half-broken things they call their communion, and would like to call their happiness, as if that were their business, and their future? Each one loses themselves for the sake of the other, and thereby loses the other and the many others who still wanted to be. And abandons the wider space of possibility, exchanging the nearing and fleeing of gentle things, full of foreboding, for a sterile confusion out of which nothing further can come; nothing but disgust at the least, and disappointment and impoverishment, and escape into one of the many conventions erected like public shelters in vast numbers on this most dangerous road. No area of human experience is as hedged with convention as this: there are life-belts of the most varied invention, and boats and water-wings; the social order was able to create every kind of refuge, for since it was inclined to consider the life of love as a life of pleasure, it had to make the pursuit of it easy, cheap, and safe and sure as public amusements are.
Yet this where the young often err, and most seriously: in that they (whose nature it is to be impatient) throw themselves at each other when love overwhelms them, and scatter themselves, just as they are, in all their carelessness, disorder, confusion…And what can happen thus? What can life do with this heap of half-broken things they call their communion, and would like to call their happiness, as if that were their business, and their future? Each one loses themselves for the sake of the other, and thereby loses the other and the many others who still wanted to be. And abandons the wider space of possibility, exchanging the nearing and fleeing of gentle things, full of foreboding, for a sterile confusion out of which nothing further can come; nothing but disgust at the least, and disappointment and impoverishment, and escape into one of the many conventions erected like public shelters in vast numbers on this most dangerous road. No area of human experience is as hedged with convention as this: there are life-belts of the most varied invention, and boats and water-wings; the social order was able to create every kind of refuge, for since it was inclined to consider the life of love as a life of pleasure, it had to make the pursuit of it easy, cheap, and safe and sure as public amusements are.

It is true that many young people who love incorrectly, that is simply devotedly and incoherently (the average person will always hold to that), feel oppressed by failure and wish to make the situation they are in viable and fruitful in their own individual way – for their nature tells them that matters of love, even less than of anything else of importance, cannot be resolved publicly, according to this or that social contract; that there are questions, intimate question, asked by one person of another, that in every case require a new, special, wholly personal answer – yet how can they, who have already hurled themselves at each other, and can no longer distinguish or differentiate themselves, who no longer possess anything of their own, find a way out of themselves, out of the depth of a solitude they have each already interred?

They act from mutual helplessness, and when, with the best of intentions, they wish to escape the convention that afflicts them (marriage for example) they fall into the tentacled grasp of a quieter but equally fatal and conventional solution; for then everything around them is pure convention; there where everyone acts out of a prematurely merged, troubled communion, every act is conventional: every relationship to which such confusion leads has its own convention, however strange it may be (immoral, that is, in the ordinary sense); yes, even separation would prove a conventional step, an impersonal, chance decision, without strength or fear of consequence.

Whoever considers it seriously, finds that neither for dying, which is hard, nor for difficult love has any explanation, solution, or hint of a path been found; and for these two tasks, which we carry out veiled and pass on without disclosing, no common agreed rule can be discovered. Yet as we begin to test out life as individuals these great things will approach us more nearly. The demands that the difficult labour of love makes on our development are greater than life, and we, as beginners are unequal to them. But if we endure, if we accept this love as a burden and an apprenticeship, instead of losing ourselves in all of that easy and careless game behind which people have hidden from the most serious solemnity of existence – then a small advance and an easing of the burden might be perceived by those who will follow, long after us. That would be much.

We are only now beginning to consider the relationship between one individual and another objectively, without prejudice, and our attempts to live such relationships have no model before them. And yet the changing times contain much that can help our timid beginners. The young girl, the woman, in her new individual purity, will only imitate for a time male behaviour and misbehaviour, and the repetitive male professions. After the uncertainty of such a transition, it will be clearly seen that women only wore the varying multitude of those (often ridiculous) disguises so as to purify their own being of the deforming influence of the opposite sex. Woman, in whom life dwells and lives more immediately, more fruitfully, more confidently, must have become at root more mature, more human than lightweight man, who is not drawn into the depths of life by the weight of that physical fruitfulness, he who, arrogant and hasty, underestimates that which he thinks he loves.

One day (of which even now, particularly in the Nordic countries, sure signs emerge and shine), one day will be young girls, and women, whose name will no longer simply signify the opposite of the male, but something in itself, something that makes one thinks not of limitation, of a mere complement, but only of life and reality: the female human being.

This development will transform the experience of love, so full of error (at first very much against the will of those men who are left behind), and reshape it from the ground up, altering it to a relationship meant to be between one human being and another, no longer one directed from a man to a woman. And this more human love (which will be infinitely considerate and calm, and achieved with kindness and clarity in its binding and loosening) will resemble that which we now prepare, painfully and laboriously, a love that consists of two solitudes protecting and bordering on, and greeting each other.

National Poetry Month Day 23: A Victorian protest poem

Sorry for the hiatus, I’ve been swamped with work and also got distracted writing a short story for a contest. But today I’m back with a poem that, despite being written in Victorian England, is sadly becoming topical again, at least here in Iowa, where Kim Reynolds is quietly giving ol’ Pudding Fingers DeSantis a run for his money as the most clownishly evil governor in the country.

Elizabeth Barrett Browning — half of one of the all-time great literary power couples (her husband Robert has influenced writers as diverse as T.S. Eliot, who was deeply impacted by Browning’s use of dramatic monologue, and Stephen King, whose Dark Tower series was inspired by one of the great examples of Browning’s use of that literary device, “Childe Roland to the Dark Tower Came”) — wrote today’s poem, “The Cry of the Children,” in 1843 in response to the report on child labor published by the Royal Commission of Inquiry into Children’s Employment in the previous year. The commission interviewed hundreds of people, mostly the child laborers themselves, about not just their work but their education (or lack thereof), diet, religious beliefs, and general day-to-day life. The report moved not just Browning (whose poem, interestingly, was published in the Tory magazine Blackwood’s — it would be nice if we could at least return to journalism that’s not completely polarized and cultureless if child labor is making a comeback, but I’m not holding my breath), but other writers such as Benjamin Disraeli, Elizabeth Glaskell, and, of course, Charles Dickens, to speak out against child labor.

Browning’s poem is a far cry from the Dickensian tales absorbed by pop culture, however. There are no loveable urchins, roguish thieves with hearts of gold, or comically grotesque bourgeoisie, just exactly what it says on the tin: a shockingly earnest expression of the pain and grief of those who had their childhood, and not infrequently their lives, stolen from them by the inhumane machinations of the Industrial Revolution.

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National Poetry Month Day 17: The road is long, we carry on, try to have fun in the meantime

Theodore Roethke is such an archetypal instantiation of the “troubled genius” that if some writer had come up with him, they’d be excoriated for creating such an overwrought stereotype. He struggled with bipolar disorder throughout his life, his breakdowns increasing in frequency and severity as he grew older. He was an aloof, bookish child; when, at 14, he lost his father to cancer and his uncle to suicide, it only exacerbated the abandonment issues and low self-esteem that had already been plaguing him. In college, he very self-consciously cultivated the imagine of an eccentric, non-conformist tough guy (aided, no doubt by his tall, 225-pound frame). His fascination with nature – he grew up on his father’s 25-acre greenhouse – and his feelings of isolation make it no surprise he was drawn to poetry. He did enter law school after completing his undergraduate degree, but dropped out almost immediately to pursue teaching and writing, saying “I didn’t wish to become a defender of property or a corporation lawyer as all my cousins on one side of the family had done.”

Unlike many of his contemporaries, Roethke frequently wrote in formal verse structures; he believed, in the words of one of his great influences T.S. Eliot, that “the only way to manipulate any kind of English verse, [is] by assimilation and imitation.” Roethke went even further than Eliot, writing, “imitation, conscious imitation, is one of the great methods, perhaps the method of learning to write. … The final triumph is what the language does, not what the poet can do, or display.” The critic summarized Roethke’s aesthetic mission thusly: “The modern poet should move away from the Romantic concept of personal expression. … He must, in effect, march through the history of poetry—rewrite the poems of the past—that he may come out at the end of his journey a poet who has absorbed the tradition and who thus may take one step forward and add to that tradition.”

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National Poetry Month Day 16: Some haiku I wrote

So yesterday was a hangover hiatus for this series, but today I dove headfirst into verse, going to a poetry workshop organized collaboratively by the Midwest Writing Center and Nahant Marsh Education Center, where it took place. Afterwards we went to Rozz-Tox to read what we wrote, which was followed by an open-mic night and then a reading from Emily Kingery in honor of the recent publication of her incredible book Invasives. So since it’s way too late at this point to dig into analyzing a poem, I’m gonna post some of what I wrote at the workshop. We were told to write five haiku as a sort of warm-up. I typically hate this form, I think it makes no sense to write syllabic-based poetry in English, but I’m actually fairly happy with how these turned out (with the caveat that they were written in like ten minutes and haven’t been edited at all), so without further ado:

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National Poetry Month Day 14: You must change your life

Today we’re going to continue the theme of the past few days, looking at Rainer Maria Rilke’s (originally named Rene, he changed it to Rainer at the behest of his married lover Lou Andreas-Salomé – famous friendzoner of Nietzsche and student of Freud – who thought Rainer sounded more masculine, strong, and Germanic; probably a good call not to have two women’s names, especially since he spent his childhood, sort of like Mishima, being treated as and dressed like a girl by his mother) ekphrastic (and, like much of Rilke’s verse, ecstatic) “Archaic Torso of Apollo.”

In addition to being an ekphrasis, this poem is also an example of a Dinggedicht (literally “thing poem,” the Germans really have a knack for this stuff). This form developed in the latter half of the 19th-century in the German-speaking world as poets attempted to describe an object (often, especially at first, as in this case, a work of art, but eventually poets turned their attention to everyday objects, and even animate “objects,” as in Rilke’s “The Panther”) with language specific to the object in question. In a sense, the goal is to let the object of the poem “speak for itself,” or at least to capture its essence.

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National Poetry Month Day 13: Bruegel Redux

Today’s poem is not only another ekphrastic one, but an ekphrasis of one of the same paintings Auden worked with in yesterday’s text. That’s right, it’s “Landscape with the Fall of Icarus” by William Carlos Williams (whose use of his middle name is not distracting anyone from the fact that his name is William Williams, he should have just leaned into it or picked a mononym – I’d say an exotic-sounding foreign nom de plume, but that would be antithetical to his mission, as we’ll see – instead of this weak-ass half-measure).

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National Poetry Month Day 12: A Night at the Museum

In 1938, W.H. Auden – at the age of 31 already considered the literary voice of his generation – visited Brussels with his friend and fellow writer Christopher Isherwood. While there, he visited the titular museum, famous for its collection of early Netherlandish paintings, and saw several works by Pieter Bruegel the Elder, inspiring today’s poem, “Musée des Beaux Arts”. That’s right, it’s another ekphrastic poem! Let’s jump right in.

Auden thoughtfully tells us with the first two words the theme of the poem – like yesterday’s ekphrasis, it is not just about a painting, but “About suffering.” But whereas Van Gogh and Sexton’s artistic output tended to be an expression of their own personal suffering, Bruegel and Auden – at least here – are examining the concept generally as such, operating from a more distant perspective. When it came to suffering, Auden believes “they were never wrong,/The old Masters: how well they understood/Its human position.”

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National Poetry Month Day 11: Sexton’s serpentine sky

Anne Sexton‘s confessional poetry immediately clicked with me. The confessionalists wrote autobiographical poems, usually in free verse, often dealing with taboo subject matter: mental illness, addiction, sex, trauma. While this may seem unremarkable to anyone familiar with contemporary poetry, it’s only because people like Sexton and her teacher Robert Lowell tilled the fertile ground that so many writers now work in (often much more self-indulgently and less interestingly). I’m surprised I’ve slept on Sexton for so long given she’s frenemies with my top literary crush, her fellow confessional poet Sylvia Plath (I could have fixed her). Sexton actually wrote a pretty amusing memorial poem after Plath’s suicide, aptly titled “Sylvia’s Death”, which contains significantly more bitterness and jealousy than your typical elegy. Indeed, Sexton shared with Plath profound mental illness and an obsession with (and longing for) death, and felt as if Plath had betrayed her by committing suicide before/without her. Incidentally, when Sexton did finally take her own life a decade later, she died by the same means as Plath: carbon monoxide poisoning (although Sexton chose the more traditional car in the garage method, as opposed to Plath’s use of her oven).

We can see Sexton’s death drive on display quite clearly in today’s poem, “The Starry Night” (which you can hear the author read here). In case it wasn’t clear from the title, it’s based on the Van Gogh painting of the same (well, similar) name. More precisely, it’s an example of ekphrasis, a rhetorical device in which a work of visual art is described verbally. Perhaps the most famous example of ekphrastic poetry is Keats’s “Ode on a Grecian Urn,” although poets have been utilizing ekphrasis basically since the medium was invented, as we can see with Homer’s description of Achilles’s shield in the Iliad.

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