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prolixcorpuslibris:

from adrienne rich’s latest, Tonight No Poetry Will Serve

powers of recuperation

iv.

bridges       trajectories arched

in shelter       rendezvous

two banks to every river      two directions

to every bridge

twenty-eight chances

every built thing has its unmeant purpose

v.

all new learning looks at first

like chaos

Someone I have mentioned to you all…. Joan Didion, an essay writer to put on your map…..

Excerpt from “Why I Write”:

During the years when I was an undergraduate at Berkeley, I tried, with a kind of hopeless late-adolescent energy, to buy some temporary visa into the world of ideas, to forge for myself a mind that could deal with abstract.

In short I tried to think. I failed. My attention veered inexorably back to the specific, to the tangible, to what was generally considered, by everyone I knew then and for that matter have known since, the peripheral. I would try to contemplate the Hegelian dialectic and would find myself concentrating instead on a flowering pear tree outside my window and the particular way the petals fell on my floor. I would try to read linguistic theory and would find myself wondering instead if the lights were on in the bevatron up the hill. When I say that I was wondering if the lights were on in the bevatron you might immediately suspect, if you deal in ideas at all, that I was registering the bevatron as a political symbol, thinking in shorthand about the military-industrial complex and its role in the university community, but you would be wrong. I was only wondering if the lights were on in the bevatron, and how they looked. A physical fact.

I had trouble graduating from Berkeley, not because of this inability to deal with ideas—I was majoring in English, and I could locate the house-and-garden imagery in “The Portrait of a Lady” as well as the next person, “imagery” being by definition the kind of specific that got my attention—but simply because I had neglected to take a course in Milton. For reasons which now sound baroque I needed a degree by the end of that summer, and the English department finally agreed, if I would come down from Sacramento every Friday and talk about the cosmology of “Paradise Lost,” to certify me proficient in Milton. I did this. Some Fridays I took the Greyhound bus, other Fridays I caught the Southern Pacific’s City of San Francisco on the last leg of its transcontinental trip. I can no longer tell you whether Milton put the sun or the earth at the center of his universe in “Paradise Lost,” the central question of at least one century and a topic about which I wrote 10,000 words that summer, but I can still recall the exact rancidity of the butter in the City of San Francisco’s dining car, and the way the tinted windows on the Greyhound bus cast the oil refineries around Carquinez Straits into a grayed and obscurely sinister light. In short my attention was always on the periphery, on what I could see and taste and touch, on the butter, and the Greyhound bus. During those years I was traveling on what I knew to be a very shaky passport, forged papers: I knew that I was no legitimate resident in any world of ideas. I knew I couldn’t think. All I knew then was what I couldn’t do. All I knew was what I wasn’t, and it took me some years to discover what I was.

Which was a writer. By which I mean not a “good” writer or a “bad” writer but simply a writer, a person whose most absorbed and passionate hourse are spent arranging words on pieces of paper. Had my credentials been in order I would never have become a writer. Had I been blessed with even limited access to my own mind there would have been no reason to write. I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear. Why did the oil refineries around Carquinez Straits seem sinister to me in the summer of 1956? Why have the night lights in the bevatron burned in my mind for twenty years? What is going on in these pictures in my mind?

Excerpt from “On Self Respect”:

Most of our platitudes notwithstanding, self-deception remains the most difficult deception. The tricks that work on others count for nothing in that very well-lit back alley where one keeps assignations with oneself: no winning smiles will do here, no prettily drawn lists of good intentions. One shuffles flashily but in vain through one’s marked cards—the kindness done for the wrong reason, the apparent triumph which involved no real effort, the seemingly heroic act into which one had been shamed. The dismal fact is that self-respect has nothing to do with the approval of others—who are, after all, deceived easily enough; has nothing to do with reputation, which, as Rhett Butler told Scarlett O’Hara, is something people with courage can do without.

To do without self-respect, on the other hand, is to be an unwilling audience of one to an interminable documentary that details one’s failings, both real and imagined, with fresh footage spliced in for every screening. There’s the glass you broke in anger, there’s the hurt on X’s face; watch now, this next scene, the night Y came back from Houston, see how you muff this one. To live without self-respect is to lie awake some night, beyond the reach of warm milk, phenobarbital, and the sleeping hand on the coverlet, counting up the sins of commission and omission, the trusts betrayed, the promises subtly broken, the gifts irrevocably wasted through sloth or cowardice or carelessness. However long we postpone it, we eventually lie down alone in that notoriously uncomfortable bed, the one we make ourselves. Whether or not we sleep in it depends, of course, on whether or not we respect ourselves.”

And last, this poem by Fleur Adcock, which I think goes so well with the extract above.

Things

There are worse things than having behaved foolishly in public.

There are worse things than these miniature betrayals,

committed or endured or suspected; there are worse things

than not being able to sleep for thinking about them.

It is 5 a.m. All the worse things come stalking in

and stand icily about the bed looking worse and worse

and worse.

Image via sheilaomallley.com