Notes from 2017 – William Stafford

William Stafford, from the announcement of the centennial celebration of his birth, 2014, at Lewis and Clark College

William Stafford, from the announcement of the centennial celebration of his birth, 2014, at Lewis and Clark College

Some poems are prophetic, though readers and the poet alike discover this only after the passage of time. William Stafford (1914-1993) wrote poems like this. Of his process, he said, “It’s like fishing,” and “A writer is not so much someone who has something to say as he is someone who has found a process that will bring about new things he would not have thought of if he had not started to say them.” (1)

Stafford was born and raised in Kansas. During WWII, as a contentious objector, he served in Civilian Public Service camps from 1942 t0 1946 for $2.50 a month. In 1947, he moved to Oregon to teach at Lewis and Clark College, a post he held for 30 years. He was a late bloomer, who did not publish the first of his 57 volumes of poetry until he was 46.

William Stafford was named “Consultant in Poetry to the Library of Congress” in 1970, a position now called Poet Laureate of the US. He was Poet Laureate of Oregon from 1975-1990. James Dickey said William Stafford was one of those poets”who pour out rivers of ink, all on good poems.” He wrote 22,000 of these in his lifetime, and published 3,000 of those.

He left an unfinished poem, “Are You Mr. William Stafford?” on August 28, 1993, the day he died of a heart attack, containing these lines:

“You can’t tell when strange things with meaning
will happen. I’m [still] here writing it down
just the way it was. “You don’t have to
prove anything,” my mother said. “Just be ready
for what God sends.” I listened and put my hand
out in the sun again. It was all easy.”

In an article in the New York Times Review of Books, Ralph J. Mills Jr. said, “Stafford’s work and attitudes say a good deal indirectly about contemporary modes of living that have lost touch with the earth and what it has to teach. He uncovers and keeps alive strata of experience and knowledge that his readers are in grave danger of losing, and without which, Stafford keeps saying, they will forget how ‘To walk anywhere in the world, to live / now, to speak, to breathe a harmless / breath.'”(1)

All these are reasons why Stafford’s work remains fresh, and seems even more timely as time goes on. One of my favorite poems, “A Ritual to Read to Each Other,” was published in 1962. It seems to me that out of time, he is speaking to us directly, urgently, pointedly at this solstice season of 2016:

A Ritual to Read to Each Other

If you don’t know the kind of person I am
and I don’t know the kind of person you are
a pattern that others made may prevail in the world
and following the wrong god home we may miss our star.

For there is many a small betrayal in the mind,
a shrug that lets the fragile sequence break
sending with shouts the horrible errors of childhood
storming out to play through the broken dyke.

And as elephants parade holding each elephant’s tail,
but if one wanders the circus won’t find the park,
I call it cruel and maybe the root of all cruelty
to know what occurs but not recognize the fact.

And so I appeal to a voice, to something shadowy,
a remote important region in all who talk:
though we could fool each other, we should consider–
lest the parade of our mutual life get lost in the dark.

For it is important that awake people be awake,
or a breaking line may discourage them back to sleep;
the signals we give–yes or no, or maybe–
should be clear: the darkness around us is deep.

–William Stafford, (from The Way It Is: New & Selected Poems)

Timely quotes from Reinhold Niebuhr

Reinhold Niebuhr,By Source, Fair use, Link

Reinhold Niebuhr,By Source, Fair use, Link

Reinhold Niebuhr (1892-1971) was an American theologian, ethicist, commentator on politics, and professor at Union Theological Seminary for 30 years. Among his most acclaimed books are, Moral Man and Immoral Society, and The Nature and Destiny of Man, which Modern Library named as one of the 20 best nonfiction books of the 20th century.

Neibuhr’s  best known work, however, is the Serenity Prayer: “God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.”

In the wake of this year’s election cycle, his musings on history and politics have a special poignancy and relevance:

“The tendency to claim God as an ally for our partisan value and ends is the source of all religious fanaticism.”

“Frantic orthodoxy is never rooted in faith but in doubt. It is when we are unsure that we are doubly sure. ”

“Religion, declares the modern man, is consciousness of our highest social values. Nothing could be further from the truth. True religion is a profound uneasiness about our highest social values.”

“Religion is so frequently a source of confusion in political life, and so frequently dangerous to democracy, precisely because it introduces absolutes into the realm of relative values.”

Neibuhr’s most haunting observation to me is this, which implies that not a single one of the countless empires that have risen and fallen before ours made much of their greatness until it was gone:

“One of the most pathetic aspects of human history is that every civilization expresses itself most pretentiously, compounds its partial and universal values most convincingly, and claims immortality for its finite existence at the very moment when the decay which leads to death has already begun.”

Harbor Scene with Roman Ruins, Leonardo Coccorante (1680-1750), public domain

Harbor Scene with Roman Ruins, Leonardo Coccorante (1680-1750), public domain

Drinking in America: Our Secret History by Susan Cheever

Drinking in America

The Pilgrims who came to America on the Mayflower were headed toward Virginia, where they had a land grant from King James.  Instead, they landed illegally in Massachusetts because they were running out of beer.  So says historian, Susan Cheever in her just-released Drinking in America: Our Secret History.  Cheever, a sober alcoholic, documents the pendulum swings of our national love-hate relationship with alcohol as she explores an important but little-known aspect of our past.

Alchohol was a factor at critical turning points in American history.  It is likely that the shot heard round the world was fired by one of the seventy militiamen awakened by Paul Revere, who passed the time while waiting three hours for British troops at the Buckman Tavern on Lexington Green.

According to Cheever, for all the volumes written on the civil war, no one has documented the considerable effect of alcohol on this conflict.  General George McClellan wrote, in February, 1862, “No one evil so much obstructs this army…as the degrading vice of drunkenness.”  McClellan, who did not drink, was relieved of command for indecisiveness in battle – or sanity, as Cheever suggests, while “His colleagues who succeeded on the battlefield – Grant, Meager, and Hooker, for example – were drinkers whose performance was often affected by their whiskey intake.” 

Most who have studied the war know about Grant, but not as many realize that because of the riotous condition of his camps, some credited General Hooker for lending his name as an epithet for prostitute.  General Thomas Meager fell off his horse while drunk as he led his troops into action at Antietam.  He drowned in 1867, after drunkenly falling off a riverboat in Montana.

Grant managed to sober up before his election as president, while Richard Nixon is revealed as an angry blackout drinker whom National Security Advisor, Henry Kissinger, Defense Secretary Melvin Laird, and White House Chief of Staff H.R. Haldeman had to protect from his own drunken rages.  They “danced around the president’s homicidal, drunken orders to bomb the shit out of this or nuke the shit out of that – orders usually not even remembered the next morning.  ‘If the president had his way,’ Kissinger told his aides, ‘there would be a nuclear war each week.‘”

Cheever’s survey not only covers political and military history, for drinking plays a part in our folklore and arts as well. John Chapman, aka, Johnny Appleseed, did not tramp around the countryside planting apples for pies, but for cider, and five of the seven 20th century American writers who won the nobel prize – Sinclair Lewis, Eugene O’Neill, William Faulkner, Ernest Hemingway, and John Steinbeck – were alcoholics. That there is no inherent connection between writing and alchohol is shown by a similar list of 19th century literary greats who did not drink to excess: “Melville, Emerson, Thoreau, Hawthorne, Longfellow, the Alcotts, and…Whitman.”

This underscores the paradox of the poles in our cultural history:  “temperance and intemperance, drinking and abstinence, liquor and sobriety, addiction and recovery.  Our country has been, at times, the drunkest country in the world; our country has been, at times, one of the least drunk countries in the world.”

As she sums up the “objective” view of modern historical authors, Susan Cheever notes that the “broad, dispassionate view,” often misses the “moments that make up our lives.” One of those things often missed by American historians is the effect of drinking on our history and national character.

“What is history?: a way to sift through the past in an effort to comprehend the world we live in; a way to understand ourselves; a way to make meaning of our lives by finding meaning in the past. How can we do that without acknowledging something many of us do every day, the thing that we use to punctuate our lives in celebrations and in sadness; how can we do it without acknowledging that glass of wine or whiskey neat or dry martini that has been such a powerful and invisible part of our life as a nation?”

Happy 90th Anniversary to…

…the Sacramento Branch of the California Writer’s Club, founded October 31, 1925.

IMG_0807

Here’s some info from the brochure at the celebration lunch last Saturday:

“Club history lore is that the founding of the California Writer’s Club emerged in part from picnics and companionship of Jack London and his writing friends up in the Oakland Hills, home of Joaquin Miller…”

Miller was a celebrated poet at the time.

“In 1909, those informal outdoor  salons (‘a blanket’ and a basket of chow’) evolved into the CWC.”

The Sacramento Branch was the first of a number of branches founded throughout the state.  CWC President, David George, presented us with a new charter, as the original one was long lost. Margie Yee Webb, our branch president, showed an archival print of the founding Sacramento members – the men in suits and tuxes, the women in dresses and evening gowns.  In those early days, they met for dinner and discussion, then adjourned to someone’s house for more conversation and drinking.

CWC old

The schedules, conventions, and mythologies of writer’s and poets have changed over the last 90 years; now we meet for breakfast or lunch, usually in jeans, and coffee is the libation of choice.

Jack London – who once worked as an oyster pirate and was jailed for a month for vagrancy – was the first creative artist, in any medium, to earn a million dollars from his work. One of my early blogging efforts, posted five years ago this month, was the account of a trip to Jack London State Park. I recommend a visit to all who enjoy his work.

The final presentation of the day was by literary agent, Laurie McLean, of the Fuse Literary Agency, who discussed why no writer needs an agent on the road to publication anymore. She also discussed those things an agent can do for us.

The gist of her talk was that we are only witnessing the start of the new forms of storytelling digital media will enable. She cited one example, popular in Japan, of serialized novels for cell phone apps that one can purchase 2,000 words at a time – a 21st century version of the way Conan-Doyle released Sherlock Holmes, a chapter at a time, in The Strand.

“What and who are you writing for?” Laurie asked.  If we need the assurance that comes from acceptance by a traditional publisher, then we need to play the traditional game, but if our goal to get our story into the hands of readers, then new, more direct avenues are opening all the time.

Despite Jack London’s success as a writer,  one of his greatest legacies may be the California Writers Club. It has nourished writers all over the state for the last 90 years, and hopefully will be here at the century’s end, encouraging those who have not been born yet, who will work in media that have not yet been invented.

Her Poison Pen

Dame Agatha Christie, 1890-1976

Dame Agatha Christie, 1890-1976

The Guinness Book of World Records lists Agatha Christie as the best selling novelist of all time. Over the years, I’ve done my part in helping to make her so.

Christie’s preferred fictional murder weapon was poison. Of the more than 300 people who died in her stories, at least 100 ate or drank something they did not live to regret. In a fun segment on last week’s Science Friday, Ira Plato interviewed Kathryn Harkup, chemist and author of A is for Arsenic: the Poisons of Agatha Christie.

From 1914 to 1918, Agatha Christie volunteered as a nurse at a local hospital, and worked in the dispensary when it opened. Back then, all pharmaceuticals were mixed on site, and none of our modern restrictions on drugs were in place, so of necessity, Christie acquired a detailed knowledge of theoretical and applied chemistry in order to pass her apothecary’s assistant exam in 1917. She learned what to do, and more importantly for her future literary career, what not to do with medicines. She was tutored by a local pharmacist who carried a lump of curare in his pocket, “because it made him feel powerful.”

Christie started writing in her twenties and did not meet with instant success. Kathryn Harkup gives an example of the plot complexity of her first published novel, A Mysterious Affair at Styles, 1920.

Spoiler Alert

The elderly victim is killed by with a lethal dose of strychnine, which at that time, was given, in measured doses, to the elderly as a tonic.  The killer, however, added bromide, a popular sleeping powder, to the solution, which caused the strychnine to precipitate out as crystals at the bottom of the bottle. The final teaspoon would be lethal, and the killer could arrange an airtight alibi.

Harkup’s research revealed that Agatha Christie had studied the effect of combining these two drugs as a lesson in what not to do, in the course of her apothecary training.

If you have ever watched a Hercule Poirot or Miss Marple movie, or purchased one of the two billion copies of Agatha Christie books that have been sold, you’ll want to check out the Science Friday interview!

Inside Inside Out, a review of sorts

In a culture that imagines a sharp mind-body split, it isn’t surprising to see images of a smart inner being controlling our physical “machinery.” Inside Out gives us a committee at the helm. Among feature length movies, it is unique in this respect, as far as I know.

Inside-Out-Meet-your-emotions-2

There are many points to ponder during the film’s 90 spectacular minutes of Pixar 3D animation, but given my background, I was especially caught by the movie’s alignment with a key post-Jungian view of the structure of the psyche.

Michael Ventura, a journalist who has written at length upon archetypal themes, and who co-authored We’ve Had 100 Years of Psychotherapy and the World is Getting Worse (1993) with James Hillman, said “There may be no more important project for our time than displacing the…fiction of monopersonality.” 

In Jung’s theory of archetypes, pre-eminent place goes to “The Self,” at once, the center of the psyche and it’s totality. The Self, for Jung, was the god image within us. The problem, according to both Ventura and Hillman, is that none of us ever experience ourselves this way. The idea of a unified, “monotheistic” Self is a longing rather than day to day reality, in Ventura’s words, “the longing of all the selves within the psyche that are starving because they are not recognized.”

Buddha came to a similar conclusion 2600 years ago, but Hillman, chose to rely on western models, and drew from Greek mythology to illustrate his conclusion that the psyche is “polytheistic,” with many archetypal centers.  A contemporary of Jung named these centers, “sub-personalities,” a term I have heard at least one Zen teacher use to illustrate the concept.

The Greek pantheon

The Greek pantheon

Thirty years ago, Michael Ventura wrote,  “It is crucial to every form of human effort that we forge a model of the psyche that is closer to our hour-to-hour experience, because, in the long run, as a society, we can share only what we can express.” (published in Shadow Dancing in the USA, 1985, now out of print but available used).

In the interim, nothing was actually forged – rather, a growing awareness of our “hour-to-hour” experience has emerged. How often do we say or hear others say, “Part of me wants to go left, but another part wants to go right?”

This awareness is now pervasive enough that it’s central to a summer blockbuster, aimed at a PG audience. Even if we don’t spend time studying differing models of the psyche, we understand Ventura perfectly when he says, “If you are alone in the room, it is still a crowded room.”

Thomas Hardy – take two

Let’s try this again…last time I pulled a classic not-paying-attention trick – I hit “Publish” instead of “Save,” and then trashed the previous draft.

So as I was I was saying….

A movie trailer for a new version of Far From the Madding Crowd got me thinking of Thomas Hardy. This is the fourth movie based on Hardy’s fourth novel and the first one that brought him critical acclaim and commercial success. The 1967 film version, starring Julie Christie, Alan Bates, and Terrance Stamp, launched me on a long Thomas Hardy reading jag.

This version of Far From the Madding Crowd is the movie I most clearly remember from my teenage years. Not only did Hardy’s melancholia mesh with my teenage angst, but I’m sure I wasn’t the only teenage boy to fall in love with Julie Christie.  Observe her gaping audience as she sings “Bushes and Briars:”

You can’t read Thomas Hardy without noting his stark vision of tragic fate in human affairs. The simplest act or coincidence can trigger chains of events that lead to disastrous outcomes. In Far From the Madding Crowd, an anonymous valentine, sent as a joke, leads to heartbreak, murder, and a hanging.

In Tess of the D’Urbervilles, also made into four movies, a snatch of conversation overheard at a crossroads by Tess’s drunken father leads to heartbreak, murder, and a hanging.

Gemma Arterton as the doomed Tess, 2008.

Gemma Arterton as the doomed Tess, 2008.

In Return of the Native, Hardy’s sixth novel, the beautiful Eustacia Vye, who longs for greater life than she can find on a remote heath, suffers the fate of a Greek tragic heroine. Her moves to escape her fate bring it upon her. Eustacia and her husband’s mother drown. In grief and despair, the husband becomes a preacher.

Catherine Zeta-Jones as Eustachian Vye in "Return of the Native," 1994

Catherine Zeta-Jones as Eustachian Vye in “Return of the Native,” 1994

With recurrent themes of the conflicting demands of culture versus nature for the individual, as well as liberal doses of illicit sexuality, Hardy’s 19th century works were popular with 20th century readers. Seeming to contrast with that is a tragic vision more purely classical than any other novelist I can think of.

And let’s face it, we Yanks love good British period dramas whenever we can get them, whether set in Camelot or on Egdon Heath. So you better believe I’ll be in line to see the new Far From the Madding Crowd when it’s released. It might even prompt me to take another foray into 19th century literature, something I thought I had long left behind. We never know where imagination will turn…

Character

Here is a wonderful meditation on character, both general and personal, from Debra, who shares with me a keen interest in the writings and world view of James Hillman. It makes a great companion piece to my previous post on Hillman. Thanks Debra!

Theoria

“A man’s character is his fate.” Heraclitus (540 BC – 480 BC), On the Universe

“If the final purpose of aging is character, then character finishes life, polishes it into a more lasting image.” James Hillman

Anna Rebecca Smith

If I have felt compelled towards living life closer to the margins, seeking out what is obscure, liminal, or for understanding more deeply the nature of life, I might trace these loose threads back to childhood and the memory of my dear Great, Great Aunt Bunny. The family myth taking root early in my life often compared my oddness to hers. Maybe another child would not have taken the myth to heart and some may say a child should be left without a myth or vision handed down by an ancestor, but I remain grateful.

Although long since passed on, her presence fosters in me a love of life’s oddness. Through the legacy…

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