from the Nuremberg Chronicle by Hartmann Schedel, 1493.
Note Lot's wife, already transformed into a salt pillar, in the center."
A couple of connections to my two most recent previous posts:
1. Together with my Penelope poems, I have a collection of poems about a few more long - suffering legendary heroines, the nameless wife and daughters of the infamous Lot, Abraham's nephew, who ushers his small family away from the Biblical destruction of Sodom. His wife is often portrayed as shallow or heedless, with her priorities all mixed up, but these poems show otherwise.
2. One of my favorites is "Ms Lot" by Muriel Rukeyser, who also wrote "Waiting for Icarus" (click or scroll down). The voice of Lot's daughter is similar to that of Icarus's girlfriend, particularly the combination of lament and outrage. She is humiliated by her father's treatment of her, his inability to treat her or her mother with respect. How can he accord them so little dignity? Would he really have done away with his own daughters so easily? She does not question her mother's priorities, but she questions her father's:
Well if he treats me like a young girl still,
That father of mine, and here’s my sister
And we’re still traveling into the hills—
But everyone on the road knows he offered us
To the Strangers, when all they wanted was men
And the cloud of smoke still over the twin cities
And mother a salt lick the animals come to—
Who’s going to want me now?
Mother did not even know
She was not to turn around and look.
God spoke to Lot, my father.
She was hard of hearing. He knew that.
I don't believe he told her, anyway.
What kind of father is that, or husband?
He offered us to those men. They didn't want women.
Mother always used to say:
Some normal man will come along and need you.
by Muriel Rukeyser, 1913 - 1980
Avant - gard band, Charming Hostess has set Rukeyser's lyrics to music: click to listen and analyze.
by Albrecht Durer, 1471 - 1528
Another long - time favorite, from which I take my title today is the lyric poem "Lot's Wife" by Soviet modernist Anna Akhmatova, who wrote from personal experience about flight, exile, and staying put. During the 1920s and 30s, she saw many friends and fellow writers leave St. Petersburg, but she herself declined the option to flee. In the poem "When in Suicidal Anguish," she writes:
I heard a voice. It called consolingly,
It said, “Come here to me,
and leave your backward, sinful land,
abandon Russia for all time. . . .
But indifferently and calmly
I covered up my ears
so this dishonorable speech
could not defile my grieving spirit."
These stanzas suggest that Akhmatova understood very well the dilemma of Lot's wife. Thirty years ago, I typed up Akhmatova's poem, neglecting to include the name of the translator. Google has revealed a number of translations, though none precisely like this version from my personal archive:
And the just man walked behind the one sent by God
Enormous and bright along the black mountain
But alarm spoke loudly to the wife
"It's not too late; you can still take a look
At the red towers of your native Sodom
At the square where you sang, at the courtyard where you spun
At the empty window of the tall house
Where you bore children for your dear husband."
She glanced -- and riveted by a deadly pain
Her eyes were no longer able to look
And her body became transparent salt
And her quick feet grew to the earth.
Who will mourn for this woman?
Does she seem any the less for her losses?
Only my heart will never forget
She who gave her life for a single glance.
by Anna Akhmatova, 1889 - 1966
[Very similar to a translation by Judith Hemschemeyer ]
Scholar and translator Clare Cavanagh mentions Akmatova's poem briefly in contrast to a longer poem on the topic, also entitled "Lot's Wife" (click to read) by recently deceased polish poet Wislawa Szymborska, 1923 - 2012 (excerpt):
But I could have had other reasons. . . .
I felt age within me. Distance.
The futility of wandering. Torpor. . . .
I looked back involuntarily. . . .
I crept, I flew upward
until darkness fell from the heavens
and with it scorching gravel and dead birds.
I couldn't breathe and spun around and around.
Anyone who saw me must have thought I was dancing.
Lot's WifeJohn Bulloch Souter, 1890 - 1972
A few more recent poetical discoveries:
1. "Lot's Wife
by Katha Pollitt
2. "What Lot's Wife Would Have Said (If She Wasn't a Pillar of Salt)
by Karen Finneyfrock:
3. "Mrs. Lot"
by Vassar Miller
And, to conlcude, one last favorite from my old notebook. It would have been nice if four of the seven poets mentioned here had not picked identical titles for their poems. We will, however, just have to work around the repetition. I'm sure that I can think of a subtitle for each. Akhmatova, obviously: "Lot's Wife: A Single Glance." For Szymborska, I'm thinking: "Lot's Wife: Involuntarily Dancing." And for Pollitt: "Lot's Wife: What Did She Expect?" Finally, I think "Lot's Wife: Drawn to Earth" captures the essence of Batey's message:
While Lot, the conscience of a nation,
struggles with the Lord,
she struggles with the housework.
The City of Sin is where
she raises the children.
Ba'al or Adonai--
Whoever is God--
the bread must still be made
and the doorsill swept.
The Lord may kill the children tomorrow,
but today they must be bathed and fed.
Well and good to condemn your neighbors' religion,
but weren't they there
when the baby was born,
and when the well collapsed?
While her husband communes with God,
she tucks the children into bed.
In the morning, when he tells her of the judgment,
[that is, God's decision to destroy the city]
she puts down the lamp she is cleaning
and calmly begins to pack.
In between bundling up the children
and deciding what will go,
she runs for a moment
to say goodbye to the herd,
gently patting each soft head
with tears in her eyes for the animals that will not understand.
She smiles blindly to the woman
who held her hand at childbed.
It is easy for eyes that have always turned to heaven
not to look back;
those who have been--by necessity--drawn to earth
cannot forget that life is lived from day to day.
Good, to a God, and good in human terms
are two different things.
On the breast of the hill, she chooses to be human,
and turns, in farewell--
and never regrets
by Kristine Batey, b. 1951
by Toussaint Dubreuil, 1561 - 1602
Previous References to Muriel Rukeyser
on my daily blog The Quotidian Kit
All the Little Animals
Another Good Poem by Muriel Rukeyser
The Wrong Answer
SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Wednesday, November 14th
Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
Looking for a good book? Try
my running list of recent reading