— Claude Lev-Strauss, Tristes Tropiques. The underlying philosophy of liberalism, and the consumer culture it generates, condensed into nine sentences. (via ayjay)
On May 31, I resigned my faculty position teaching English at a small high school. The school solely served at-risk students who had been removed from the home for various reasons; most of them had gotten in trouble with the law, but all of them came from extremely dysfunctional families. As, probably, do a great deal of students in America. I have deeply loved my students, but I can only describe that love as a running of one’s hand backwards against the grain of wood. That doesn’t sound pleasant because most of the time it wasn’t (much of love isn’t pleasant, yes?), but I have been shaped by it. I will always feel that grain, and even when my hand is at rest, I’m sure there will be the phantom brush across my knuckles. I taught for six years, and I don’t believe I’ll enter education again; not because of the education system, but because I’m on the cusp of middle age and I’m beginning to realize with some anxiety that if I don’t free up some time to accomplish the things I set out to do when I was 20, then there will be no more time.
Fittingly, I was reading Marilynne Robinson’s “Home” this morning:
“None of this had mattered much through all the years of her studies and teaching, but now, in the middle of the night, it was part of the loneliness she felt, as if the sense that everything could have been otherwise were a palpable darkness. Darkness visible. That was Milton.
Those grown children had, almost all of them, bent their heads over whatever work she gave them, even though their bodies were awkward and restless with the onset of adulthood, fate creeping through their veins and glands and follicles like a subtle poison, making them images of their parents and strangers to themselves. There was humor in it of a kind that might raise questions about the humorist.
Why do we have to read poetry? Why ‘Il Penseroso’? Read it and you’ll know why. If you still don’t know, read it again. And again. Some them took the things she said to heart, as she had done once when they were said to her. She was helping them assume their humanity. People have always made poetry, she told them. Trust that it will matter to you. The pompous clatter of ‘The Charge of the Light Brigade’ moved some of them to tears, and then she had talked to them about bad poetry. Who gets to say what’s good and what’s bad? I do, she said. For the moment. You don’t have to agree, but listen. Some of them did listen. This seemed to her to be perfectly miraculous. No wonder she dreamed at night that she had lost any claim to their attention. What claim did she have? Could it be that certain of them lifted their faces to her so credulously because what she told them was true, that they were human beings, keepers of lore, makers of it? That it was really they who made demands of her?”
That credulity; that trust.
When I was 16, my father and I were walking in from checking crops. Our home place was a half-section — a rectangle 1/2 mile wide by 1 mile long — so a walk to the middle could be accomplished inside the space of a conversation. On our way back to the house, my father spotted a rusty glint of metal recently turned by the plow.
"Look at that," he said with some amazement as he retrieved it from the earth.
“What is it?” I asked.
“It’s a switchblade. I smuggled it from Mexico when I was 16.” He knocked the dirt from it and turned it in the sun. The wooden handle had mostly rotted. The blade bore the pocks of oxidation. “Me and Jeff S. hid the knife in the air filter of our truck. The border guards checked everything, even our Skoal cans, but they didn’t check the air filter.”
It dawned on me that I, too, was 16, and that had I been my father, I would be traveling to old Mexico (an 18-hour drive) with a buddy. “Your mom and dad let you drive to Mexico when you were 16?” I asked.
“Things were different then.”
He went on to tell me that he and Jeff S. had gone through Galveston on the same trip. Jeff was driving and ogling some bikini girls on the beach when a child ran out in front of them. Jeff didn’t see the boy, and he flopped up on the hood. It had been 20 years, so Dad didn’t remember all that happened. The boy went to the hospital. Jeff got a ticket. And that was the end of it. They decided to go on to Mexico.
Jeff and Dad had been very close. Dad even served as best man in Jeff’s wedding. I was born about the same time as Jeff’s oldest son. As the obligations of adulthood grew, then Dad and Jeff grew apart.
When I was in college, both of Jeff’s sons got involved with some meth dealers. A few things went bad, and both of the boys were involved in a murder. They dismembered the body and buried it beneath six-feet of concrete in an abandoned grain silo. The son who is my age will never get out of prison. The younger got a much lighter sentence as an accessory.
I feel like my life has been an narrow escape of that fate. I wonder if my father feels the same way.
That Nature is a Heraclitean Fire and of the comfort of the Resurrection
By Gerard Manley Hopkins
Cloud-puffball, torn tufts, tossed pillows | flaunt forth, then chevy on an air-
Built thoroughfare: heaven-roysterers, in gay-gangs | they throng; they glitter in marches.
Down roughcast, down dazzling whitewash, | wherever an elm arches,
Shivelights and shadowtackle ín long | lashes lace, lance, and pair.
Delightfully the bright wind boisterous | ropes, wrestles, beats earth bare
Of yestertempest’s creases; | in pool and rut peel parches
Squandering ooze to squeezed | dough, crust, dust; stanches, starches
Squadroned masks and manmarks | treadmire toil there
Footfretted in it. Million-fuelèd, | nature’s bonfire burns on.
But quench her bonniest, dearest | to her, her clearest-selvèd spark
Man, how fast his firedint, | his mark on mind, is gone!
Both are in an unfathomable, all is in an enormous dark
Drowned. O pity and indig | nation! Manshape, that shone
Sheer off, disseveral, a star, | death blots black out; nor mark
Is any of him at all so stark
But vastness blurs and time | beats level. Enough! the Resurrection,
A heart’s-clarion! Away grief’s gasping, | joyless days, dejection.
Across my foundering deck shone
A beacon, an eternal beam. | Flesh fade, and mortal trash
Fall to the residuary worm; | world’s wildfire, leave but ash:
In a flash, at a trumpet crash,
I am all at once what Christ is, | since he was what I am, and
This Jack, joke, poor potsherd, | patch, matchwood, immortal diamond,
Is immortal diamond.
Originally posted at Commonweal Magazine - https://www.commonwealmagazine.org/blog/resurrection-cosmic-communal-hopkins-karr?utm_content=buffera2966&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
To be crucified is first to lie down
on a shaved tree, and then to have oafs stretch you out
on a crossbar as if for flight, then thick spikes
fix you into place.
Once the cross pops up and the pole stob
sinks vertically in an earth hole perhaps
at an awkward list, what then can you blame for hurt
but your own self’s burden?
You’re not the figurehead on a ship. You’re not
flying anywhere, and no one’s coming to hug you.
You hang like that, a sack of flesh with the hard
trinity of nails holding you into place.
Thus hung, your ribcage struggles up
to breathe until you suffocate, give up the ghost.
If God permits this, one wonders how
this twirling earth
manages to navigate the gravities and star tugs.
Or if some less than loving watcher
watches us scuttle across the boneyard greens
under which worms
seethe and the front jaws of beetles
eventually clasp toward the flesh of every beloved.
The man on the cross under massed thunderheads feels
his soul leak away,
then surge. Some windy authority lures him higher
till an unseen tear in the sky’s membrane is rent,
and he’s streaming light, snatched back, drawn close,
so all loneliness ends.