All I have is a voice
To undo the folded lie…
Today I tried to eat my lunch beneath a TV set blazing with the latest tragic news from Boston. From Watertown. From hatred.
No one knows why the bombers in Boston chose to murder innocent victims. The home-made bombs certainly haven’t stirred support for Chechnya, or helped to allay American fears of Muslim terrorism. They were acts of hatred, created in hatred, and they will be met, I’m certain, with more hatred. Because so many people in this world believe that compassion is a weakness, and that hate is the only ‘just’ response to evil.
It isn’t, of course. But it’s hard to hear the quiet pleas for restraint, for compassion, above the howls of righteous anger, the keening of loss, the bewildered horror. So today’s poem is one I’ve long loved, timely once again as hate ignites, and political posturing strong-arms genuine attempts at dialogue. It remains the most scathing indictment I know of expedient & reactionary hatred.
Here’s W.H. Auden’s ‘September 1, 1939′:
September 1, 1939
I sit in one of the dives
On Fifty-second Street
Uncertain and afraid
As the clever hopes expire
Of a low dishonest decade:
Waves of anger and fear
Circulate over the bright
And darkened lands of the earth,
Obsessing our private lives;
The unmentionable odour of death
Offends the September night.
Accurate scholarship can
Unearth the whole offence
From Luther until now
That has driven a culture mad,
Find what occurred at Linz,
What huge imago made
A psychopathic god:
I and the public know
What all schoolchildren learn,
Those to whom evil is done
Do evil in return.
Exiled Thucydides knew
All that a speech can say
And what dictators do,
The elderly rubbish they talk
To an apathetic grave;
Analysed all in his book,
The enlightenment driven away,
The habit-forming pain,
Mismanagement and grief:
We must suffer them all again.
Into this neutral air
Where blind skyscrapers use
Their full height to proclaim
The strength of Collective Man,
Each language pours its vain
But who can live for long
In an euphoric dream;
Out of the mirror they stare,
And the international wrong.
Faces along the bar
Cling to their average day:
The lights must never go out,
The music must always play,
All the conventions conspire
To make this fort assume
The furniture of home;
Lest we should see where we are,
Lost in a haunted wood,
Children afraid of the night
Who have never been happy or good.
The windiest militant trash
Important Persons shout
Is not so crude as our wish:
What mad Nijinsky wrote
Is true of the normal heart;
For the error bred in the bone
Of each woman and each man
Craves what it cannot have,
Not universal love
But to be loved alone.
From the conservative dark
Into the ethical life
The dense commuters come,
Repeating their morning vow;
“I will be true to the wife,
I’ll concentrate more on my work,”
And helpless governors wake
To resume their compulsory game:
Who can release them now,
Who can reach the deaf,
Who can speak for the dumb?
All I have is a voice
To undo the folded lie,
The romantic lie in the brain
Of the sensual man-in-the-street
And the lie of Authority
Whose buildings grope the sky:
There is no such thing as the State
And no one exists alone;
Hunger allows no choice
To the citizen or the police;
We must love one another or die.
Defenceless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.
Today is Poem In Your Pocket Day. Just a big FYI. It also was Poetry for Peace Day at a local community college. I was lucky enough to be a reader, along w/ several talented student poets and a couple of stellar colleagues. My friend Allen — a long-time social activist — organised it.
Each of us read a poem, most of us our own. But there were also poems to put in your pocket — after all, it is Poem In Your Pocket Day. And this was one I had forgotten, by a man I respect & admire deeply. His objectives sometimes are at odds with my own, but he has never wavered in his faith, or in his mission to save lives. All lives. Poetry was his language long before protest, and remains one of his most lasting legacies.
Here is Daniel Berrigan’s ‘Prayer for the Morning Headlines':
PRAYER FOR THE MORNING HEADLINES
MERCIFULLY GRANT PEACE IN OUR DAYS. THROUGH YOUR HELP MAY WE BE FREED FROM PRESENT DISTRESS. HAVE MERCY ON WOMEN AND CHILDREN, HOMELESS IN FOUL WEATHER, RANTING LIKE BEES AMONG GUTTED BARNS AND STILES. HAVE MERCY ON THOSE (LIKE US) CLINGING ONE TO ANOTHER UNDER FIRE. HAVE MERCY ON THE DEAD, BEFOULED, TRODDEN LIKE SNOW IN HEDGES AND THICKETS. HAVE MERCY, DEAD MAN, WHOSE GRANDIOSE GENTLE HOPE DIED ON THE WING, WHOSE BODY STOOD LIKE A TREE BETWEEN STRIKE AND FALL, STOOD LIKE A CRIPPLE ON HIS WOODEN CRUTCH. WE CRY: HALT! WE CRY: PASSWORD! DISHONORED HEART, REMEMBER AND REMIND, THE OPEN SESAME: FROM THERE TO HERE, FROM INNOCENCE TO US: HIROSHIMA DRESDEN GUERNICA SELMA SHARPEVILLE COVENTRY DACHAU VIETNAM AFGHANISTAN IRAQ. INTO OUR HISTORY, PASS! SEED HOPE. FLOWER PEACE.
Poetry always helps me with grief. With rage at injustice, with loss. With all the sorrows — as well as joys — of human existence. Today’s poem is for the many victims rippling out from the horrific centre of the Boston Marathon bombings. It’s a poem by a poet who absolutely understood ugly hate, as well as war and loss.It’s also a poem of hope.
Here’s an excerpt from Stanley Kunitz’s ‘Night Letter':
Night Letter (an excerpt)
Violence shakes my dreams; I am so cold,
Chilled by the persecuting wind abroad,
The oratory of the rodent’s tooth,
The slaughter of the blue-eyed open towns,
And principle disgraced, and art denied.
My dear, is it too late for peace, too late
For men to gather at the wells to drink
The sweet water; too late for fellowship
and laughter at the forge; too late for us
To say, “Let us be good to one another”?
The lamps go singly out; the valley sleeps;
I tend the last light shining on the farms
And keep for you the thought of love alive,
As scholars dungeoned in an ignorant age
Tended the embers of the Trojan fire.
Cities shall suffer siege and some shall fall,
But man’s not taken. What the deep heart means,
Its message of the big, round, childish hand,
Its wonder, its simple lonely cry,
The bloodied envelope addressed to you,
Is history, that wide and mortal pang
While baseball isn’t a great love of mine, I do have fond memories of watching my sons play. Beginning with T-ball, both sons played for a few years, then went on to other interests. But for a short time, I remember sitting in the stands, at both their games and the city’s team. Reading, letting them run around under the bleachers eating baseball food.
Something about baseball feels very American to me — more so than any other sport, although I actually prefer watching basketball. But baseball is so very human. It needs patience, teamwork, the occasional vivid out-of-the-park moment and dark loss. All held in the soft palm of a leather glove.
Since I’m certain anyone reading a Buddhist/Unitarian blog can make his or her own connections, I won’t go into all the ways poetry, baseball, and Pete Fairchild’s poem are metaphors for the human condition. It’s a long poem but so worth it.
Here’s B.H. Fairchild’s ‘Body and Soul':
Body and Soul
Half-numb, guzzling bourbon and Coke from coffee mugs,
our fathers fall in love with their own stories, nuzzling
the facts but mauling the truth, and my friend’s father begins
to lay out with the slow ease of a blues ballad a story
about sandlot baseball in Commerce, Oklahoma decades ago.
These were men’s teams, grown men, some in their thirties
and forties who worked together in zinc mines or on oil rigs,
sweat and khaki and long beers after work, steel guitar music
whanging in their ears, little white rent houses to return to
where their wives complained about money and broken Kenmores
and then said the hell with it and sang Body and Soul
in the bathtub and later that evening with the kids asleep
lay in bed stroking their husband’s wrist tattoo and smoking
Chesterfields from a fresh pack until everything was O.K.
Well, you get the idea. Life goes on, the next day is Sunday,
another ball game, and the other team shows up one man short.
They say, we’re one man short, but can we use this boy,
he’s only fifteen years old, and at least he’ll make a game.
They take a look at the kid, muscular and kind of knowing
the way he holds his glove, with the shoulders loose,
the thick neck, but then with that boy’s face under
a clump of angelic blonde hair, and say, oh, hell, sure,
let’s play ball. So it all begins, the men loosening up,
joking about the fat catcher’s sex life, it’s so bad
last night he had to hump his wife, that sort of thing,
pairing off into little games of catch that heat up into
throwing matches, the smack of the fungo bat, lazy jogging
into right field, big smiles and arcs of tobacco juice,
and the talk that gives a cool, easy feeling to the air,
talk among men normally silent, normally brittle and a little
angry with the empty promise of their lives. But they chatter
and say rock and fire, babe, easy out, and go right ahead
and pitch to the boy, but nothing fancy, just hard fastballs
right around the belt, and the kid takes the first two
but on the third pops the bat around so quick and sure
that they pause a moment before turning around to watch
the ball still rising and finally dropping far beyond
the abandoned tractor that marks left field. Holy shit.
They’re pretty quiet watching him round the bases,
but then, what the hell, the kid knows how to hit a ball,
so what, let’s play some goddamned baseball here.
And so it goes. The next time up, the boy gets a look
at a very nifty low curve, then a slider, and the next one
is the curve again, and he sends it over the Allis Chalmers,
high and big and sweet. The left field just stands there, frozen.
As if this isn’t enough, the next time up he bats left-handed.
They can’t believe it, and the pitcher, a tall, mean-faced
man from Okarche who just doesn’t give a shit anyway
because his wife ran off two years ago leaving him with
three little ones and a rusted-out Dodge with a cracked block,
leans in hard, looking at the fat catcher like he was the sonofabitch
who ran off with his wife, leans in and throws something
out of the dark, green hell of forbidden fastballs, something
that comes in at the knees and then leaps viciously towards
the kid’s elbow. He swings exactly the way he did right-handed
and they all turn like a chorus line toward deep right field
where the ball loses itself in sagebrush and the sad burnt
dust of dustbowl Oklahoma. It is something to see.
But why make a long story long: runs pile up on both sides,
the boy comes around five times, and five times the pitcher
is cursing both God and His mother as his chew of tobacco sours
into something resembling horse piss, and a ragged and bruised
Spalding baseball disappears into the far horizon. Goodnight,
Irene. They have lost the game and some painful side bets
and they have been suckered. And it means nothing to them
though it should to you when they are told the boy’s name is
Mickey Mantle. And that’s the story, and those are the facts.
But the facts are not the truth. I think, though, as I scan
the faces of these old men now lost in the innings of their youth,
it lying there in the weeds behind that Allis Chalmers
just waiting for the obvious question to be asked: why, oh
why in hell didn’t they just throw around the kid, walk him,
after he hit the third homer? Anybody would have,
especially nine men with disappointed wives and dirty socks
and diminishing expectations for whom winning at anything
meant everything. Men who knew how to play the game,
who had talent when the other team had nothing except this ringer
who without a pitch to hit was meaningless, and they could go home
with their little two-dollar side bets and stride into the house
singing If You’ve Got the Money, Honey, I’ve Got the Time
with a bottle of Southern Comfort under their arms and grab
Dixie or May Ella up and dance across the gray linoleum
as if it were V-Day all over again. But they did not
And they did not because they were men, and this was a boy.
And they did not because sometimes after making love,
after smoking their Chesterfields in the cool silence and
listening to the big bands on the radio that sounded so glamorous,
so distant, they glanced over at their wives and noticed the lines
growing heavier around the eyes and mouth, felt what their wives
felt: that Les Brown and Glenn Miller and all those dancing couples
and in fact all possibility of human gaiety and light-heartedness
were as far away and unreachable as Times Square or the Avalon
ballroom. They did not because of the gray linoleum lying there
in the half-dark, the free calendar from the local mortuary
that said one day was pretty much like another, the work gloves
looped over the doorknob like dead squirrels. And they did not
because they had gone through a depression and a war that had left
them with the idea that being a man in the eyes of their fathers
and everyone else had cost them just too goddamn much to lay it
at the feet of a fifteen year-old-boy. And so they did not walk him,
and lost, but at least had some ragged remnant of themselves
to take back home. But there is one thing more, though it is not
a fact. When I see my friend’s father staring hard into the bottomless
well of home plate as Mantle’s fifth homer heads toward Arkansas,
I know that this man with the half-orphaned children and
worthless Dodge has also encountered for the first and possibly
only time the vast gap between talent and genius, has seen
as few have in the harsh light of an Oklahoma Sunday, the blonde
and blue-eyed bringer of truth, who will not easily be forgiven.