Democracy under Assault? Stand Firm

Arthur Rackham, illus. from Goblin Market

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Tuesday

“What can an ordinary voter do to maintain engagement with the election while not turning their cerebral cortex into a wet, steaming mess of fused wiring?” asks Tom Nichols in an Atlantic article that speaks directly to many of us. Nichols points out that this is actually Trump’s strategy. To cause disillusion with democracy, “flood the zone with shit,” as Trump whisperer Steve Bannon colorfully puts it.

Among literary characters who show strength and resolve to stand strong in the face of relentless attacks, Lizzie in Christina Rossetti’s Goblin Market comes to mind.

First, however, here’s Nichols expanding on the problem:

By overwhelming people with the sheer volume and vulgarity of his antics, Trump and his team are trying to burn out the part of our brains that can discern truth from fiction, right from wrong, good from evil. His campaign’s goal is to turn voters into moral zombies who can no longer tell the difference between Stormy and Hunter or classified documents and personal laptops, who cannot parse what a “bloodbath” means, who no longer have the ability to be shocked when a political leader calls other human beings “animals” and “vermin.”

And further:

Trump isn’t worried that all of this will cause voters to have a kind of mental meltdown: He’s counting on it. He needs ordinary citizens to become so mired in moral chaos and so cognitively paralyzed that they are unable to comprehend the disasters that would ensue if he returns to the White House.

In Goblin Market, goblins seek to seduce Lizzie and Laura by appealing to their base desires, offering them forbidden fruit. Think of these tempters as “the best and most serious people” who currently surround Trump: Stephen Miller, Paul Manafort, Mike Flynn, Jim Jordan, Jeffrey Clark, and others. Link them up with the following as you see fit:

One had a cat’s face,
One whisk’d a tail,
One tramp’d at a rat’s pace,
One crawl’d like a snail,
One like a wombat prowl’d obtuse and furry,
One like a ratel tumbled hurry skurry.

So what base desires does Trump appeal to? Well, resentment, sadism, fear, and the urge to dominate, among others. And what must they offer up in return? In Laura’s case, it’s a lock of her golden hair—which is to say, her innocence, her purity, her integrity. And at first, she is as exhilarated as Trump supporters upon first encountering him:

She dropp’d a tear more rare than pearl,
Then suck’d their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than man-rejoicing wine,
Clearer than water flow’d that juice;
She never tasted such before,
How should it cloy with length of use?
She suck’d and suck’d and suck’d the more
Fruits which that unknown orchard bore;
She suck’d until her lips were sore;
Then flung the emptied rinds away
But gather’d up one kernel stone,
And knew not was it night or day
As she turn’d home alone.

Yes, there is a heady feeling when one has sucked upon Trumpian fruit. The problem , however, is that it leaves one a shell of one’s former self, a robot who can respond only to Trump’s trigger words. There are, in the United State, cultists who are so in thrall to the man that they have cut themselves off from their spouses, partners, children, grandchildren, relatives and friends, not to mention from humanity generally. We see in Laura the effects of such surrender:

But when the noon wax’d bright
Her hair grew thin and grey;
She dwindled, as the fair full moon doth turn
To swift decay and burn
Her fire away.

Now to Lizzie, who refuses to succumb to the goblin men as she goes to the aid of her sister. What truly sustains us, we learn, is not forbidden fruit but love. But this love requires courage and Lizzie encounters the kind of hate that, as we have learned to our sorrow, Trump cultists are only too willing to dish out to anyone who disagrees with them:

Their tones wax’d loud,
Their looks were evil.
Lashing their tails
They trod and hustled her,
Elbow’d and jostled her,
Claw’d with their nails,
Barking, mewing, hissing, mocking,
Tore her gown and soil’d her stocking,
Twitch’d her hair out by the roots,
Stamp’d upon her tender feet,
Held her hands and squeez’d their fruits
Against her mouth to make her eat.

And further on:

One may lead a horse to water,
Twenty cannot make him drink.
Though the goblins cuff’d and caught her,
Coax’d and fought her,
Bullied and besought her,
Scratch’d her, pinch’d her black as ink,
Kick’d and knock’d her,
Maul’d and mock’d her,
Lizzie utter’d not a word;
Would not open lip from lip
Lest they should cram a mouthful in…

And now to the passage I have in mind about standing up to Trumpist attempts to short-circuit our brains. It takes Lizzie’s resolve to stay firm and keep our eyes on the prize:

White and golden Lizzie stood,
Like a lily in a flood,—
Like a rock of blue-vein’d stone
Lash’d by tides obstreperously,—
Like a beacon left alone
In a hoary roaring sea,
Sending up a golden fire,—
Like a fruit-crown’d orange-tree
White with blossoms honey-sweet
Sore beset by wasp and bee,—
Like a royal virgin town
Topp’d with gilded dome and spire
Close beleaguer’d by a fleet
Mad to tug her standard down.

Compare this with Nichol’s advice on how we should respond to Trump:

The way to withstand Trump’s daily assaults on our senses is to regard them with fortitude, and even some stoicism. He’s trying to shake our confidence in democracy and basic decency; remaining engaged in civic life, calmly and without stooping to such tactics and rhetoric, is the superpower of every citizen in a democracy.

Plotwise, Lizzie allows Laura to lick the fruit juice she has accumulated off her face, where it works as an antidote to Laura’s addiction. In other words, love conquers base desire. Or in our case, love of “democracy and basic decency” can overcome (or so we can hope) fascistic temptation.

We dream that those Americans who have been led astray by this temptation will abandon the cult and return to the family and friends they have rejected. For her part, Laura, after having gone through an intense inner struggle, finds her way back:

Laura awoke as from a dream,
Laugh’d in the innocent old way,
Hugg’d Lizzie but not twice or thrice;
Her gleaming locks show’d not one thread of grey,
Her breath was sweet as May
And light danced in her eyes.

I have experienced a loved one who was once taken over by a cult. During his junior year in college my son Justin joined a rabid fundamentalist church, which made prickly his ties with his family (especially when he told one of his brothers that he was going to hell). Once he asked me if I “had been saved,” even though he knew I attend church weekly. Apparently Julia and I weren’t Christian enough for him.

He was still a lovely man, however, and he would still give out hugs. Whenever I saw him around campus (he was attending the college where I taught), I refused to argue with him but instead saw myself ducking beneath the branches to embrace the trunk. What was most important was the love I had for him.

That’s how Lizzie saves Laura, who years later tells her children,

For there is no friend like a sister
In calm or stormy weather;
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands.

I will never know if my love would have helped Justin to a more balanced perspective because he drowned on April 30 in a freak accident. (I take some consolation from his friends reporting that he was starting to soften not long before then, as if he had had to experiment with total religious immersion before arriving at his own faith.) Likewise, I don’t know whether our caring for family and friends who have sold out to Trump will ever bring them back. We can only control what what we ourselves do, not how they will respond. Like Queequeg in Moby Dick, we throw our caskets into the sea and hope that our Ishmaels will find them in time.

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Two Poems on the Magic of Eclipses

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Monday

I’ve come across two solar eclipse poems to prepare you for today’s great celestial event. In Ella Wheeler Wilcox’s sensuous sonnet, the moon is the earth’s ever-faithful lover who “shines ever on her lover as they run/ And lights his orbit with her silvery smile.”

And every so often, as on April 8, 2024,  she “softly slips,/ And with her mantle veils the Sun’s bold eyes.” While we below “see only that the Sun is in eclipse,” the moon is stealing a kiss:  

A Solar Eclipse
By Ella Wheeler Wilcox

In that great journey of the stars through space
     About the mighty, all-directing Sun,
     The pallid, faithful Moon, has been the one
Companion of the Earth. Her tender face,
Pale with the swift, keen purpose of that race,
     Which at Time’s natal hour was first begun,
     Shines ever on her lover as they run
And lights his orbit with her silvery smile.

Sometimes such passionate love doth in her rise,
     Down from her beaten path she softly slips,
And with her mantle veils the Sun’s bold eyes,
     Then in the gloaming finds her lover’s lips.
While far and near the men our world call wise
     See only that the Sun is in eclipse.

Deborah Trestman’s “The Eclipse” also finds something mystical as “planets/ perfectly align for three long/ minutes, as long as a song.” In this magical moment of “night without sunset,” the birds go quiet and the poet imagines beasts, charmed by the moment, dancing to bells and flute and “forgetting fear and fierceness.” She appears to be referencing celestial harmonies, the music of the spheres, when she says that “gentled bears and lions” are “tamed for the length/ of a chiming whistling tune.”

But the moment passes as “the sun heals white.” In the cold light of day, reality reasserts itself and people become strangers once again. I’m not sure what the poet means by “the crown of the queen of false night”—and how one loses said crown—but it sounds like the magic has gone and, with it, the possibility of a better world. Here’s the poem:

The Eclipse
By Deborah Trestman

Birds nest at midday, chirp night
songs in midday twilight –night
without sunset, the sun noon
high, bruised black by the moon.

Charmed beasts dance to bells and flute,
forgetting fear and fierceness, gentled
bears and lions tamed for the length
of a chiming whistling tune.

Strangers fall in love; a prince
and a princess, parrots. Planets
perfectly align for three long
minutes, as long as a song,

until the sun heals white. Costumed
parrots mock the wounds of magic.
Strangers once more have lost
the crown of the queen of false night.

Past posts on the August 2017 Eclipse
Twain and Tintin on Eclipses
Coleridge on Celestial Bodies

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Stranger Than Fiction’s Easter Message

Will Farrell as IRS agent Harold Crick

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Sunday

During my recent trip, I screened the 2006 film Stranger Than Fiction at the Holy Cross Lutheran Church in Greenbelt MD, focusing on the movie’s Lenten theme. I hadn’t fully appreciated until our discussion, however, just how Lenten the film is.

In the film IRS agent Harold Crick (Will Farrell), living a lonely and overregulated existence, awakes one morning to discover that a voice in his head is narrating his life. It so happens that he is a character in a book and that the voice is that of author Karen Eiffel (Emma Thompson), who has created him. Disturbed, he goes to literature professor Jules Hibbert (Dustin Hoffman), who starts him wondering whether his life is a comedy or a tragedy. As Hibbert puts it,

To quote Italo Calvino, “The ultimate meaning to which all stories refer has two faces: the continuity of life, the inevitability of death.” Tragedy, you die. Comedy, you get hitched.

Crick begins a systematic examination of his life and concludes that he is in a tragedy, even as he increasingly realizes that he wants to live. After informing him that we all die, Hibbert then advises him to make his life “the one you’ve always wanted.” Taking up the challenge, Harold begins a relationship with baker Ana Pascal (Maggie Gyllenhall) and learns how to play the guitar. But since he also knows he’s in a tragedy, he goes in search of the author to plead for his life.

While this is going on, we watch Eiffel grappling with how to finish her novel. She herself is a chain-smoking mess, and while all of her previous novels have ended with dead protagonists, she’s not sure she wants to end her current novel this way—even though, artistically speaking (or at least in Professor Hibbert’s opinion), a tragic ending is the better ending. As I watched her struggle, I thought of Samuel Richardson and Charlotte Bronte, who killed off characters that their readers desperately wanted them to keep alive (Clarissa Harlowe in Clarissa and Paul Emanuel in Villette).

It so happens that Harold, to whom she gives a draft copy of the novel that has him dying, ends up agreeing with Professor Hibbert. He withdraws his request that Eiffel change the ending, concluding that he must die for the sake of art and beauty.

Since I was thinking of the film in terms of Lent, I couldn’t help but recall Jesus’s Garden of Gethsemane moment. First resisting but then accepting the narrative that has been written for him, Jesus says, “My Father, if it is possible, may this cup be taken from me. Yet not as I will, but as you will.”

But as one of our discussants noted, the Christian story is a comedy, not a tragedy, and Stranger Than Fiction proves to be one as well. Ignoring the professor, who thinks she is ruining what would otherwise be her masterpiece, Eiffel comes up with a miraculous ending: although Crick steps in front of a bus to save a boy, a metal fragment from his watch lodges in his arm, preventing an artery from bleeding out. At the end he is recovering in a hospital room and receiving a visit from Ana.

Picking up on the Easter theme, my college roommate Paul Thompson, who had invited me to give the talk, wrote me in a follow-up e-mail,

It seems that when Harold surrenders to dying as “a good ending” of the story, the surprise of a transformed ending happens.  It seems to me in my reading of mystics and maybe also St. Paul, that the goal of life is to surrender our ego-self, not with the expectation of living forever—not as a means to an end—but as an actual trust in the dying itself.  Resurrection is just a welcome “surprise,” from a God of love who promises surprises that are beyond our imagination and may be beyond our narrow sense of self. 

The author offers a similar idea as she argues with Professor Hibbert on how to end her book. As she explains her authorial decision, I thought of Jesus:

Because it’s a book about a man who doesn’t know he’s about to die and then dies. But if the man does know he’s going to die and dies anyway, dies willingly, knowing he could stop it, then… I mean, isn’t that the type of man you want to keep alive?

Her way of keeping him alive is significant. The watch that saves Harold has been the symbol of his boring and meaningless existence. With its shattering, Harold steps out of profane time into sacred time. By accepting his death, Harold shows that death doesn’t get the last word.

And it’s not only Harold who has been living a life of quiet desperation. In his acceptance of his destiny, he shows the author and the professor that they too have been stuck in an old story. Through Harold—or through the power of literature (since he’s a literary character)—they realize that a much bigger narrative is available to them. They have been offered a new dispensation.

The author ends this new story with a deeper appreciation of life than (from what we can tell) she has previously had. If we recall that her story is the frame story—that this is a film about an author whose writing takes her to hopeful places she hadn’t expected—then the film’s final montage represents awakening. Let’s call it the Easter promise.

Stranger than Fiction delivers this promise through a film-ending montage, recounted by Eiffel’s narrative voice, that begins with Ana offering Harold a cookie:

As Harold took a bite of Bavarian sugar cookie, he finally felt as if everything was going to be ok. Sometimes, when we lose ourselves in fear and despair, in routine and constancy, in hopelessness and tragedy, we can thank God for Bavarian sugar cookies. And, fortunately, when there aren’t any cookies, we can still find reassurance in a familiar hand on our skin, or a kind and loving gesture, or subtle encouragement, or a loving embrace, or an offer of comfort, not to mention hospital gurneys and nose plugs, an uneaten Danish, soft-spoken secrets, and Fender Stratocasters [the guitar Harold buys], and maybe the occasional piece of fiction [my italics]. And we must remember that all these things, the nuances, the anomalies, the subtleties, which we assume only accessorize our days, are effective for a much larger and nobler cause. They are here to save our lives. I know the idea seems strange, but I also know that it just so happens to be true.

Most of these examples are accompanied by shots of people we have seen in the film, including Professor Hibbert, who shows up in conjunction with “nose plugs.” While earlier we have seen him as a lifeguard at the faculty pool, this time he is diving into the pool, as though he no longer is satisfied with being just a watcher of life. Perhaps, as he advised Harold, he’s decided to go live the life he’s always wanted.

And as for the author coming up with an ending she never expected, I think of what John Gatta says about God’s relationship to creation in Green Gospel: Foundations of Ecotheology . (I’ve written about Gatta’s illuminating book here, here, and here.) Rather than creating a blueprint that is mechanistically carried out (Gatta is criticizing the theory of “intelligent design” here), God participates in the unfolding of creation. It’s as though, He (or She) has created a process that surprises and teaches even Him/Her. Gatta writes,

In contrast to such a predesigned, blueprint model of creation, we might consider how, in the Wisdom tradition of the Old Testament, an enigmatic female personification of Wisdom once sported with God in playful “delight, rejoicing before him always” in the elemental acts of creation, “rejoicing in his inhabited world and delighting in the human race” (Proverbs 9:30-31).

Gatta also mentions the final voice from the whirlwind heard by Job, which “recalls how the divine artisan’s genesis of all things had melded with a glorious music, ‘when the morning stars sang together and all the heavenly beings shouted for joy’ (Job 38:7).” Gatta points out that this “note of musicality, of divine creation as a ceaseless and soul-stirring flow rather than a static design, has been echoed since by countless writers and lovers of nature.”

Karen Eiffel may not be God, but we can imagine her as one creating in God’s image as she rejoices and delights in her fictional creation. Through this creation, like God’s creation of Jesus, she has opened up new possibilities for herself and for her readers. The new story that emerges—like the Resurrection story—saves lives.

So yes, sometimes this vision is conveyed to us through an “occasional piece of fiction.”

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A Poem for When You’re Feeling Weary

Daniel Gabriel Rossetti, Proserpine


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Friday

As today is Algernon Charles Swinburne’s birthday, I share his best-known poem, which also might be considered an anti-spring poem. And that’s okay. Just because buds are bustin’ out all over doesn’t mean that we have to feel energized. In fact, T.S. Eliot considered April to be the cruelest month. After all, it breeds

Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.

So okay, I grant that Eliot’s preferred state here is one of emotional numbness—”Winter kept us warm, covering earth in forgetful snow.” Still there are those times when “the world is too much with us” (to quote Wordsworth) and we just want to  rest. I think of the final lines of Tennyson’s “Lotus Eaters”:

Surely, surely, slumber is more sweet than toil, the shore
Than labour in the deep mid-ocean, wind and wave and oar;
O, rest ye, brother mariners, we will not wander more.

Swinburne appears to be coming from a similar place in “The Garden of Proserpine.” Proserpine was the daughter of Ceres, goddess of the harvest, and was carried off to the kingdom of the dead by Pluto. When her mourning mother stopped growing crops, the gods pressured Pluto to release her. But because Proserpine had eaten six pomegranate seeds in the underworld, she had to stay there every six months of the year.

Swinburne’s speaker, on the other hand, appears to want to be there year-round. He is “tired of tears and laughter” and pretty much everything else associated with living. “Even the weariest river,” he writes, “winds somewhere safe to sea.” Here’s the poem:

The Garden of Proserpine
By Algernon Swinburne

Here, where the world is quiet;
        Here, where all trouble seems
Dead winds’ and spent waves’ riot
         In doubtful dreams of dreams;
I watch the green field growing
For reaping folk and sowing,
For harvest-time and mowing,
         A sleepy world of streams.

I am tired of tears and laughter,
         And men that laugh and weep;
Of what may come hereafter
         For men that sow to reap:
I am weary of days and hours,
Blown buds of barren flowers,
Desires and dreams and powers
         And everything but sleep.

Here life has death for neighbour,
         And far from eye or ear
Wan waves and wet winds labour,
         Weak ships and spirits steer;
They drive adrift, and whither
They wot not who make thither;
But no such winds blow hither,
         And no such things grow here.

No growth of moor or coppice,
         No heather-flower or vine,
But bloomless buds of poppies,
         Green grapes of Proserpine,
Pale beds of blowing rushes
Where no leaf blooms or blushes
Save this whereout she crushes
         For dead men deadly wine.

Pale, without name or number,
         In fruitless fields of corn,
They bow themselves and slumber
         All night till light is born;
And like a soul belated,
In hell and heaven unmated,
By cloud and mist abated
         Comes out of darkness morn.

Though one were strong as seven,
         He too with death shall dwell,
Nor wake with wings in heaven,
         Nor weep for pains in hell;
Though one were fair as roses,
His beauty clouds and closes;
And well though love reposes,
         In the end it is not well.

Pale, beyond porch and portal,
         Crowned with calm leaves, she stands
Who gathers all things mortal
         With cold immortal hands;
Her languid lips are sweeter
Than love’s who fears to greet her
To men that mix and meet her
         From many times and lands.

She waits for each and other,
         She waits for all men born;
Forgets the earth her mother,
            The life of fruits and corn;
And spring and seed and swallow
Take wing for her and follow
Where summer song rings hollow
         And flowers are put to scorn.

There go the loves that wither,
         The old loves with wearier wings;
And all dead years draw thither,
         And all disastrous things;
Dead dreams of days forsaken,
Blind buds that snows have shaken,
Wild leaves that winds have taken,
         Red strays of ruined springs.

We are not sure of sorrow,
         And joy was never sure;
To-day will die to-morrow;
         Time stoops to no man’s lure;
And love, grown faint and fretful,
With lips but half regretful
Sighs, and with eyes forgetful
         Weeps that no loves endure.

From too much love of living,
         From hope and fear set free,
We thank with brief thanksgiving
         Whatever gods may be
That no life lives for ever;
That dead men rise up never;
That even the weariest river
         Winds somewhere safe to sea.

Then star nor sun shall waken,
         Nor any change of light:
Nor sound of waters shaken,
         Nor any sound or sight:
Nor wintry leaves nor vernal,
Nor days nor things diurnal;
Only the sleep eternal
         In an eternal night.

In Beyond the Pleasure Principle, Sigmund Freud theorizes that there is a desire within cells to return to their previous inanimate state, a drive he called the death wish or Thanatos. This exists in tension with Eros, the life drive, with sometimes one predominant, sometimes the other. Swinburne’s poem can be seen as an homage to Thanatos.

I remember, in college, being drawn to “Garden of Proserpine” when I was at the end of an arduous semester and was feeling wrung out. Given all the pressure that I placed on myself, an inanimate state seemed pretty good to me. One of my favorite paintings has always been Daniel Gabriel Rossetti’s painting Proserpine, which was inspired by the poem and which hangs in our living room. In it one sees Proserpine almost defiantly biting into a pomegranate—like Eve biting into the apple—as though, like Swinburne’s speaker, she wants to remain.

I’m not recommending world-weary poems for all occasions. Sometimes, however, there’s consolation in finding a lyric that makes your exhaustion feel poetic.

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Vlad’s Black Riders, Trump’s Tell-Tale Heart

Still from Lord of the Rings


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Thursday

Whenever a political columnist uses a literary allusion to illustrate a point, I grab onto it as a sign that literature still provides our culture with vibrant images with which to negotiate our troubled times. Recently blogger Greg Olear turned to J.R.R. Tolkien and Washington Irving to depict the workings of Vladimir Putin’s secret police. Meanwhile Armanda Marcotte of Salon compared an anxious Donald Trump to the narrator in Edgar Allan Poe’s “The Tell-Tale Heart.”

Olear sees Putin’s use of secret police as nothing new in Russian history:

From the days of Ivan IV in the late sixteenth century, Russia’s leaders have been extraordinarily ruthless about the application of terror to maintain power. The first secret state police, called the oprichnina, was devised by this first tsar, whom history knows as Ivan the Terrible. Black-clad patrolmen on black mounts descended on towns and villages, like a scene from J.R.R. Tolkien or Washington Irving, leaving death and destruction in their wake. 

Passages from The Fellowship of the Ring show us how Putin’s victims must feel when his henchmen come knocking. In the scene, Frodo and Sam are seeking to evade Sauron’s Nazgul or Black Riders:

Round the corner came a black horse, no hobbit-pony but a full-sized horse; and on it sat a large man, who seemed to crouch in the saddle, wrapped in a great black cloak and hood, so that only his boots in the high stirrups showed below; his face was shadowed and invisible.

When it reached the tree and was level with Frodo the horse stopped. The riding figure sat quite still with its head bowed, as if listening. From inside the hood came a noise as of someone sniffing to catch an elusive scent; the head turned from side to side of the road.

And further on:

The sound of hoofs stopped. As Frodo watched he saw something dark pass across the lighter space between two trees, and then halt. It looked like the black shade of a horse led by a smaller black shadow. The black shadow stood close to the point where they had left the path, and it swayed from side to side. Frodo thought he heard the sound of snuffling. The shadow bent to the ground, and then began to crawl towards him.

These scenes terrified me when I was a child.

Irving’s Ichabod Crane is riding a horse when he encounters his own black rider:

In the dark shadow of the grove, on the margin of the brook, he beheld something huge, misshapen and towering. It stirred not, but seemed gathered up in the gloom, like some gigantic monster ready to spring upon the traveler….On mounting a rising ground, which brought the figure of his fellow-traveler in relief against the sky, gigantic in height, and muffled in a cloak, Ichabod was horror-struck on perceiving that he was headless!—but his horror was still more increased on observing that the head, which should have rested on his shoulders, was carried before him on the pommel of his saddle! His terror rose to desperation; he rained a shower of kicks and blows upon Gunpowder, hoping by a sudden movement to give his companion the slip; but the specter started full jump with him. Away, then, they dashed through thick and thin; stones flying and sparks flashing at every bound. Ichabod’s flimsy garments fluttered in the air, as he stretched his long lank body away over his horse’s head, in the eagerness of his flight.

The German S.S. were probably Tolkien’s inspiration for the Nazgul. Frodo and Sam fortunately manage to escape their black riders but Crane, like far too many of Putin’s opponents, meets his demise.

Examining Donald Trump’s psychological response to his upcoming election interference/hush money trial, Marcotte concludes that he is running scared. She points out,

As the trial date nears, his already bizarre behavior is getting worse, like he’s the murderer in “The Tell-Tale Heart.” He posted 77 times on Truth Social on Easter, and that’s not even counting his threatening post depicting Joe Biden being kidnapped. 

In Poe’s story, the murderer thinks he has gotten away with killing his neighbor, at least at first, and converses “in a friendly way” with the visiting police officers. Soon, however, he begins to panic. If he were Trump, he would start manically texting:

 I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked.

Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear??

Trump is not ravaged by guilt for his alleged election fraud (far from it!), but he certainly keeps speaking louder. With his long Truth Social messages, written in all-caps, and his increasingly unhinged accusations against the calmly talking and smiling Joe Biden, he does indeed sound like Poe’s narrator.

Now all we need is for him to break down and deliver some version of the narrator breaking down: “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him.” Wouldn’t it be wonderful if Trump suddenly came clean and admitted that he’s been lying all along about the election being stolen?

To feel the need to confess, however, one must first have a conscience.

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Caste in a Multicultural Democracy

Ellis-Taylor as Wilkerson visiting India in Origins


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Wednesday

I’ve been so enthralled with the thesis of Isabel Wilkerson’s Caste: The Origins of Our Discontents that Julia and I made sure we saw Origins, the film based on the book, when it appeared in theaters. By viewing America’s treatment of Blacks through the lens of the Dalits (a.k.a. the Untouchables) in India and the Jews in Nazi Germany, Wilkerson clarifies how racism works in the United States. Sadly, if race operates as a caste, then it is much more deeply entrenched in the American psyche than many liberals, including me, have assumed.

To illustrate Wilkerson’s point, in today’s post I feature a poem by Langston Hughes and passages from Huckleberry Finn and Arundhati Roy’s Booker-winning God of Small Things.

Among other things, caste helps explain why impoverished immigrants coming to the United States didn’t feel an automatic kinship with oppressed groups already here. It’s understandable why people would have adopted America’s caste system upon entry: suddenly a big part of your identity is someone else being at the bottom rung of the status ladder.

To focus on one group, the Irish for centuries were treated like dirt by the British, and at first many Irish immigrants found life not a lot better when they immigrated to America. Indeed, many were treated worse than African slaves since, in monetary terms, their lives were worth less. After all, they weren’t prize chattel. But at least they could regain some self-respect by their white skin, a dynamic that is explored in Noel Ignatiev’s study How the Irish Became White.

The poor Whites that I grew up with in segregated Appalachian Tennessee—many of Scotch and Irish descent—were more openly and vocally racist than the rich Whites, more likely to use the n-word and engage in direct violence. (Upper class racism was more subtle, as Harper Lee shows in her sequel to To Kill a Mockingbird.) Hughes pours contempt on these poor Whites in his poem “Ku Klux”:

They took me out
To some lonesome place.
They said, “Do you believe
In the great white race?”

I said, “Mister,
To tell you the truth,
I’d believe in anything
If you’d just turn me loose.”

The white man said, “Boy,
Can it be
You’re a-standin’ there
A-sassin’ me?”

They hit me in the head
And knocked me down.
And then they kicked me
On the ground.

A klansman said, “Nigger,
Look me in the face —
And tell me you believe in
The great white race.”

 I think also of the racist rant from Irish descendant “Pap” Finn in Huckleberry Finn:

Oh, yes, this is a wonderful govment, wonderful. Why, looky here. There was a free nigger there from Ohio—a mulatter, most as white as a white man. He had the whitest shirt on you ever see, too, and the shiniest hat; and there ain’t a man in that town that’s got as fine clothes as what he had; and he had a gold watch and chain, and a silver-headed cane—the awfulest old gray-headed nabob in the State. And what do you think? They said he was a p’fessor in a college, and could talk all kinds of languages, and knowed everything. And that ain’t the wust. They said he could vote when he was at home. Well, that let me out. Thinks I, what is the country a-coming to? It was ’lection day, and I was just about to go and vote myself if I warn’t too drunk to get there; but when they told me there was a State in this country where they’d let that nigger vote, I drawed out. I says I’ll never vote agin. Them’s the very words I said; they all heard me; and the country may rot for all me—I’ll never vote agin as long as I live. And to see the cool way of that nigger—why, he wouldn’t a give me the road if I hadn’t shoved him out o’ the way. I says to the people, why ain’t this nigger put up at auction and sold?—that’s what I want to know. And what do you reckon they said? Why, they said he couldn’t be sold till he’d been in the State six months, and he hadn’t been there that long yet. There, now—that’s a specimen. They call that a govment that can’t sell a free nigger till he’s been in the State six months. Here’s a govment that calls itself a govment, and lets on to be a govment, and thinks it is a govment, and yet’s got to set stock-still for six whole months before it can take a hold of a prowling, thieving, infernal, white-shirted free nigger, and—

Regarded as trash by the Judge Thatchers of the world, Pap salvages some self-dignity thanks to America’s caste system. If you want to understand the irrational hatred that many Whites had for Barack Obama—a hatred that propelled birther-spouting Donald Trump to the White House—look no further. Many of the Pap Finns who voted for him in 2016 were voting for the first time in their lives.

Now, I want to be clear there are plenty of Irish descendants who are not racist, starting with my wife, who broke free of the prejudices of her mother. The problems of caste, furthermore, extend far beyond the Irish. When Julia and I spent a year in rural Minnesota after graduating from Carleton College, I encountered anti-Black racism in Swedish, Norwegian, Danish and German descendants—which was a shock since I had gone north hoping to escape such prejudice. Even though there were few if any Blacks in the area, my first boss told me a racist joke on my first day and my second boss informed me that Blacks were little better than animals.

This is the point of Wilkerson’s book: the American caste system has always been available to anyone that wanted to make use of it because that’s how caste works. Democrats are currently worried about certain Latinos, especially white Latinos, gravitating to Donald Trump’s white supremacist views. If they are in fact doing so, they are traveling a well-worn path.

I don’t know a lot about India’s caste system, but God of Small Things shows me just how deep caste systems reach. In this tragic novel about an upper-class woman who falls in love with an Untouchable and sees the lives of herself, the man, and her children destroyed in the process, the author at one point reflects on where the tragedy begins. One answer is thousands of years earlier:

It could be argued that it actually began thousands of years ago. Long before the Marxists came. Before the British took Malabar, before the Dutch Ascendency, before Vasco da Gama arrived, before the Zamorin’s conquest of Calicut. Before three purple-robed Syrian Bishops murdered by the Portuguese were found floating in the sea, with coiled sea serpents riding on their chests and oysters knotted in their tangled beards. It could be argued that it began long before Christianity arrived in a boat and seeped into Kerala like tea from a teabag.

That it really began in the days when the Love Laws were made. The laws that lay down who should be loved, and how.

America finally got rid of its own miscegenation laws in 1967 in Loving v. Virginia, but that hasn’t made the beliefs go away.

In an excruciating scene, Roy shows us the violence that is used to prop up caste. “Touchable Policemen” have tracked down the kindly Velutha, Ammu’s lover, and while Ammu’s horrified twins watch from the shadows, they beat him to death. The author shows the violence comes less from the men than from the caste system:

The twins were too young to know that these were only history’s henchmen. Sent to square the books and collect the dues from those who broke its laws. Impelled by feelings that were primal yet paradoxically wholly impersonal. Feelings of contempt born of inchoate, unacknowledged fear—civilization’s fear of nature, men’s fear of women, power’s fear of powerlessness.

Man’s subliminal urge to destroy what he could neither subdue nor deify.

Man’s Needs.

By adding sexism and classism into the mix, Roy shows that caste is not the only dynamic at work. Her novel shows how far the power structure will go to maintain power. As she explains,

What Esthappen and Rahel witnessed that morning, though they didn’t know it then, was a clinical demonstration in controlled conditions (this was not war after all, or genocide) of human nature’s pursuit of ascendancy. Structure. Order. Complete monopoly. It was human history, masquerading as God’s Purpose, revealing herself to an under-age audience.

There was nothing accidental about what happened that morning. Nothing incidental. It was no stray mugging or personal settling of scores. This was an era imprinting itself on those who lived in it.

History in live performance.

Further emphasizing how the killing is systemic rather than individual, Roy writes of the policemen,

If they hurt Velutha more than they intended to, it was only because any kinship, any connection between themselves and him, any implication that if nothing else, at least biologically he was a fellow creature—had been severed long ago. They were not arresting a man, they were exorcising fear. They had no instrument to calibrate how much punishment he could take. No means of gauging how much or how permanently they had damaged him.

Roy’s book is brilliant in part because it shows how inexorable the process is. If the central characters worship “the god of small things,” it’s in part because the big gods are not there for them. To borrow the title of Jean Cocteau’s Oedipus play, when there’s an “infernal machine” grinding them down, they find solace in small acts of love, which become everything to them. If it’s useless to worry about tomorrow, one lives day to day.

And if, in the process, one violates love laws—not only caste and miscegenation laws but also (in the case of the twins) incest laws—well, where else is comfort to be found? Unfortunately, the system makes sure the lawbreakers pay a horrendous price, which it does in a cold and efficient manner:

Unlike the custom of rampaging religious mobs or conquering armies running riot, that morning in the Heart of Darkness the posse of Touchable Policemen acted with economy, not frenzy. Efficiency, not anarchy. Responsibility, not hysteria. They didn’t tear out his hair or burn him alive. They didn’t hack off his genitals and stuff them in his mouth. They didn’t rape him. Or behead him.

After all they were not battling an epidemic. They were merely inoculating a community against an outbreak.

America’s increasingly multicultural society is seeing far too many of these inoculation attempts. The liberal hope has been that Americans would come to embrace the pluralistic dream once they got to know each other, with Inclusion, Diversity, and Equality programs helping the process along. And in truth, there has been significant progress.

Unfortunately, we may have underestimated the staying power of caste and the extent to which certain fellow citizens are impelled by primal feelings “born of inchoate, unacknowledged fear.”

Further thought: Given the pessimism in today’s post, I should add that millions of immigrant descendants—which includes everyone other than Native Americans and those who were brought here by force—are appalled by caste racism. While caste helps explain why Trump has been as successful as he has been, millions of White Americans will still vote against him in the upcoming election.

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Bridges and the American Dream

Brooklyn Bridge in the 1930s


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Tuesday

Baltimore’s Key Bridge catastrophe, brought about when a container ship destroyed a section by colliding with one of the pilings, has me thinking about Hart Crane’s The Bridge (1933). The poet’s ambitious and challenging epic uses the Brooklyn Bridge to symbolize the spirit of the American Dream.

Opened in 1883, the Brooklyn Bridge was an astounding achievement, seeming proof of America’s aspirational greatness. This raises the question of whether we can still dream soaring dreams. Even as Joe Biden promises federal aid to restore the Baltimore bridge as soon as possible, the GOP’s “harpies of the shore” (to borrow a phrase from Oliver Wendell Holmes’s “Old Ironsides”) are threatening to deny funding. Meanwhile, some MAGAts are blaming both Biden and diversity policies for the disaster.

Because “To Brooklyn Bridge,” which functions as a prologue to Crane’s poem, is often obscure, I’ll walk you through it. It begins with the image of a soaring seagull looking down at the bridge, which seems to chain the waters below. The bird appears as a brief apparition to office workers in skyscrapers, perhaps reminding them that we are a nation of dreamers. In fact, this dreaming takes them to movie theaters time and again:

To Brooklyn Bridge (prologue to The Bridge)

How many dawns, chill from his rippling rest
The seagull’s wings shall dip and pivot him,
Shedding white rings of tumult, building high
Over the chained bay waters Liberty—

Then, with inviolate curve, forsake our eyes   
As apparitional as sails that cross
Some page of figures to be filed away;
—Till elevators drop us from our day …

I think of cinemas, panoramic sleights
With multitudes bent toward some flashing scene
Never disclosed, but hastened to again,
Foretold to other eyes on the same screen…

As I read these lines, I think of the opening passage from Zora Neale Hurston’s 1937 novel Their Eyes Were Watching God:

Ships at a distance have every man’s wish on board. For some they come in with the tide. For others they sail forever on the same horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams mocked to death by Time. That is the life of men.

Crane, however, has not turned his eyes away in resignation. Rather, he sees the Bridge as a symbol of tangible hope, at least for some. The sun that moves across it, turning it silver, leaves some of its energy with it. The bridge may be stationary and yet it seems to soar freely:

And Thee, across the harbor, silver paced
As though the sun took step of thee yet left
Some motion ever unspent in thy stride,—
Implicitly thy freedom staying thee!

I say “for some” because Crane then mentions a mad man who commits suicide by leaping from its heights. Not all American stories are happy ones and Crane himself in the near future will commit suicide in similar fashion, leaping off the back of a boat. Yet even this instance speaks to the bridge’s mesmerizing power:

Out of some subway scuttle, cell or loft
A bedlamite speeds to thy parapets,
Tilting there momently, shrill shirt ballooning,
A jest falls from the speechless caravan.

This is only a temporary interlude, however. Shining through the bridge’s girders is the sun (“the sky’s acetylene”), casting rip-tooth shadows onto Wall Street. And while the cargo-loading derricks turn under a cloudy sky, the bridge’s cables “breathe the North Atlantic still,” which I’m reading as partaking of and embodying the awesome power of nature. The bridge may be made by humans for commercial purposes, but it channels something greater:

Down Wall, from girder into street noon leaks,
A rip-tooth of the sky’s acetylene;
All afternoon the cloud flown derricks turn …
Thy cables breathe the North Atlantic still.

The bridge radiates not only natural force but spiritual mystery (“the heaven of the Jews”). The anonymous masses of New York feel their power as they are lifted up and redeemed by the structure, which the poet comes to see as a great musical instrument. When Crane describes the Brooklyn Bridge as “harp and altar,” I think of the importance that Romantic poets like Percy Shelley and Samuel Taylor Coleridge attached to aeolian harps, which use the wind’s power to create art. Crane sees the bridge’s music attracting prophets, outcasts, and lovers (he himself regarded himself as all three):

And obscure as that heaven of the Jews,
Thy guerdon … Accolade thou dost bestow
Of anonymity time cannot raise:
Vibrant reprieve and pardon thou dost show.

O harp and altar, of the fury fused,
(How could mere toil align thy choiring strings!)
Terrific threshold of the prophet’s pledge,
Prayer of pariah, and the lover’s cry…

At night, as car headlamps outline the bridge with a string of luminescent beads, Crane senses that it is lifting up the night itself in its arms. And then later, after all the city lights have gone out (“the City’s fiery parcels all undone”), he experiences the full shadow of the bridge. His observation that snow is submerging “an iron year” hints, once again, that something about the bridge is redemptive. As prophet, outcast, and lover himself, he is being lifted above his hard and unforgiving iron existence:

Again the traffic lights that skim thy swift
Unfractioned idiom, immaculate sigh of stars,
Beading thy path—condense eternity:
And we have seen night lifted in thine arms.

Under thy shadow by the piers I waited
Only in darkness is thy shadow clear.
The City’s fiery parcels all undone,
Already snow submerges an iron year …

And indeed the bridge—this “immaculate sigh of stars”—is a constant presence. It’s as though, by vaulting sea and looking out towards the western prairies, it connects the high and the low, the sky and the sod. Caught up in the sweep and curve of the cables, the poet feels that God has been given a new myth. We call that myth the American Dream:

O Sleepless as the river under thee,
Vaulting the sea, the prairies’ dreaming sod,         
Unto us lowliest sometime sweep, descend
And of the curveship lend a myth to God.

I grant that Baltimore’s Key Bridge is nothing like the Brooklyn Bridge, which is an architectural as well as an engineering marvel. Nevertheless, our current challenge begs the question of whether America is still capable of lending a myth to God.

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On Hummingbirds and…Menstruation?!

Ruby-throated hummingbird

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Monday

Someone has just written to our local newspaper, the Sewanee Mountain Messenger, about the year’s first hummingbird sighting. This gives me an excuse to share a fun hummingbird poem, written by Beth Ann Fennelly (thanks to Jonathan Rebec for alerting me to it).

Though Fennelly is more focused on the last hummingbird rather than the first, she points to the entire seasonal cycle. We gasp when we see the first one, appearing as a stereotyped picture of happiness—“hands clasped, like a child actor instructed to show joy.” And then there are the midsummer swarms, when I’ve counted as many as ten hummingbirds at our feeders. A collection of hummingbirds is called a “charm” or a “hover” and sometimes a “troubling.” To me, however, they sometimes resemble a swarm of large mosquitoes.

What distinguishes the last hummingbird is that we never know that it’s the last. The poet observes that there’s “no telling, and no tell”: we think we have seen the last one and then there’s another one and so on until, finally, there really are no more.

At this point in the poem, Fennelly shocks us with a dramatic and unexpected comparison: to menstruation! Just as the hummingbird appearances go through a cycle, so does a woman’s period. While the first is like the angel Gabriel appearing to Mary (with the poet, for good measure, throwing in an allusion to Judy Blume’s teen classic about periods, Are You There God? It’s Me, Margaret), the last is like “your last, perhaps, or next-to-last, your no-long-very-monthly monthly.”

And just as “your body’s eggy miracle” has been “unneeded now for years,” so the uncertainty surrounding hummingbird departures leads to sugar water being wasted. (“Why fill and dump and fill again the undrunk sugar water?” Fennelly asks. “Enough. Let’s progress to whatever season’s next.”)

And yet, one doesn’t want to progress without some “farewell ritual.” She imagines the last hummingbird, in its departure, dipping its wing, as pilots sometimes do to indicate a final farewell.

The Last Hummingbird of Summer
By Beth Ann Fennelly

reveals itself in retrospect. Unlike the first,
whose March arrival bade you gasp, hands clasped,
like a child actor instructed to show joy, when the last
departs for points south, there’s no telling,
and no tell. Well, so what? You know their cycle.
In August, they swarm the feeder, all swagger,
greedy tussle for sugar water. Suddenly,
September. Chill tickles your ankles. You reach
for long sleeves and you fret. They’ve left? Not yet.
Ear cocked for the symphony’s shrinking strings.
Then comes a day without a ruby flash. Next day,
they’re back. Next day, there’s one. Then none.
Or maybe one? From porches, pumpkins grin.
Your last had left, and left you uninformed.

Kinda? Sorta? Can I say it?—like menstrual blood,
again, between your legs. Your last, perhaps,
or next-to-last, your no-longer-very-monthly
monthly. So unlike your first crimson, at twelve,
its “Yes-You-Are-There-God” annunciation.
Well, so what? You know the cycle. Your body’s
eggy miracle, unneeded now for years.
And you hate waste. Why fill and dump
and fill again the undrunk sugar water?
Enough. Let’s progress to whatever season’s next.
But still, a farewell ritual wouldn’t be amiss.
The last hummingbird of summer, zinging
from the feeder—to others, a smooth departure—
to you, alone, unmistakably, dipping its wing.

Whenever I read a poem like this, I think of how poet Lucille Clifton gave women permission to write about their bodies, starting with “homage to my hips” (early 1970s) and eventually moving on to lyrics like “poem in praise of menstruation” and “wishes for sons.” I love her own farewell poem “to my last period”:

well, girl, goodbye,
after thirty-eight years.
thirty-eight years and you
never arrived
splendid in your red dress
without trouble for me
somewhere, somehow. 

now it is done,
and i feel just like the grandmothers who,
after the hussy has gone,
sit holding her photograph
and sighing, wasn’t she
beautiful? wasn’t she beautiful?

So which should one be more sentimental about, the last hummingbird or one’s last period? Not being a woman, I’ll let others answer that one.

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Radical Hope, Love’s Secret Discipline

Picasso, Mother and Child

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Sunday – Easter

After my eldest son died, one of my colleagues—a national authority on colonial Puritan poetry—quietly assured me that love was more powerful than death. Although poets have been telling me this all my life, it resonated particularly powerfully at that moment. The two poems I have chosen for today’s Easter post make this their focus.

First, there’s Scott Cairns’s “The Death of Death,” the title of which reminds one of John Donne’s defiant declaration, “Death, thou shalt die!” Cairns uses fertility image to accentuate his point:

The Death of Death
By Scott Cairns

Put fear aside.
Now that He has entered
into death on our behalf,
all who live
no longer die
as men once died.

That ephemeral occasion
has met its utter end.
As seeds cast to the earth, we
will not perish, but like those seeds
shall rise again—the shroud
of death itself having been
burst to tatters
by love’s immensity.

Powerful though we know love to be, however, thinking of it as triumphant still requires us to engage in an act of the imagination that takes us beyond what Brazilian philosopher and poet Rubem Alves calls “the overwhelming brutality of facts that oppress and repress.”

“Reality is is more complex than realism wants us to believe,” Alves writes, adding, “the frontiers of the possible are not determined by the limits of the actual.”

Alves has one sentiment that shows up also in Wendell Berry’s poem “Manifesto: The Mad Farmer Liberation Front.” Berry writes,

Invest in the millennium. Plant sequoias.
Say that your main crop is the forest
that you did not plant,
that you will not live to harvest.

For his part Rebem writes,

Let us plant dates
even though those who plant them
will never eat them.

Think of this as radical hope and the foundation of faith:

We must live by the love of what we will never see.
This is the secret discipline.

Here’s the poem:

What is Hope?
By Rubem Alves

What is hope?
It is a presentiment that imagination is more real
and reality less real than it looks.
It is a hunch
that the overwhelming brutality of facts
that oppress and repress is not the last word.
It is a suspicion
that reality is more complex
than realism wants us to believe
and that the frontiers of the possible
are not determined by the limits of the actual
and that in a miraculous and unexpected way
life is preparing the creative events
which will open the way to freedom and resurrection….
The two, suffering and hope, live from each other.
Suffering without hope
produces resentment and despair,
hope without suffering
creates illusions, naiveté, and drunkenness….
Let us plant dates
even though those who plant them
will never eat them. We must live by the love of what we will never see.
This is the secret discipline.
It is a refusal to let the creative act
be dissolved in immediate sense experience
and a stubborn commitment to the future of our grandchildren.
Such disciplined love
is what has given prophets, revolutionaries and saints
the courage to die for the future they envisaged.
They make their own bodies
the seed of their highest hope.

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