Time Does Not Assuage

THE BUDDING MOON
ACCUSTOMED, CERMONIOUS

"Well, I'll be damned
Here comes your ghost again
But that's not unusual
It's just that the moon is full . . ."
Joan Baez

Reading Duo Dickinson's Lenten Meditations is good way to discover poems by Emily Dickinson that you may have never before encountered. For the past few springs, it has been Duo's Lenten discipline to feature 40 of Emily's poems in 40 days. That's how I came across this one -- Emily's elegant response to the ancient idiom "Time heals all wounds":

They say that ‘time assuages,’–
Time never did assuage;
An actual suffering strengthens,
As sinews do, with age.

Time is a test of trouble,
But not a remedy.
If such it prove, it prove too
There was no malady.

Emily Dickinson

You might not think of Emily Dickinson (1830 – 1886) and Friedrich Nietzsche (1844 – 1900), as contemporaries, but in fact their lives overlapped by 42 years. In 1888, Nietzsche wrote: "What doesn’t kill you, makes you stronger," an aphorism that stands in interesting contrast to the second line of Dickinson's poem: "An acutual suffering strengthens." Unlike Nietzsche, Dickinson does not say that suffering provides a source of personal growth. Rather, she implies that suffering strengthens itself -- not that it lends any fortitude to the sufferer. Instead, the actual wound itself grows stronger as time passes.

As I observed awhile back on my book blog, perhaps various hurtful incidents actually feel not less but more egregious as you gain the clarity to look back and realize that circumstances were actually way worse than you were able to acknowledge at the time because your emotional survival depended on pushing the reality out of your mind and rationalizing that all was well.

If "it prove" that an ache or pain should dissipate, has it has been healed by Time? No, says Dickinson, it just wasn't all that bad in the first place. On the other hand, if the wound was profound, it is with you for life. Time is not a remedy; time does not assuage.

Writing over a century later, Anne Lamott (b 1954) concurs with Dickinson. Rather than alleviating old unresolved wrongs, Time brings a sharper focus. I appreciate Dickinson's generalities: suffering, trouble, malady; and Lamott's specifics: moving her mother's ashes from the back of the closet and going as "deeply, as I could into the mystery of our relationship":

"I've been angry at her most of my life, even after she died. I put the ashes in the closet as soon as they came back from the funeral home, two years ago, thinking I could finally give up all hope that a wafting white-robed figure would rise up from the ashes and say, 'Oh, Little One, my darling daughter, I am here now, finally.' I prayed and prayed for my heart to soften, to forgive her, and love her for what she did give me -- life, great values, a lot of tennis lessons, and the best she could do. Unfortunately, the best she could do was terrible, like the Minister of Silly Walks trying to raise a girl, and my heart remained hardened towards her. . . . she was like someone who had broken my leg, and my leg had healed badly, and I would limp forever.

"I couldn't pretend she hadn't done extensive damage -- that's called denial. But I wanted to dance anyway, even with a limp. I know forgiveness is a component of freedom, but I couldn't, even after she died, grant her amnesty. Forgiveness means it finally becomes unimportant that you hit back. You're done. It doesn't necessarily mean you want to be with the person again; but if you keep hitting back, you stay trapped in the nightmare . . . My life has actually been much better since she died, and it was liberating to be so angry, after having been such a good and loyal girl. But 18 months after her death, I still thought of her . . . with bewilderment that this person could ever be in charge, and dismay, and something like hatred."

from Lamott's essay O Noraht, Noraht
[See also: Mother's Day]

Just as Lamott is able to claim hatred as one of her residual emotions after her mother's death, poet W. S. Merwin, looking back on his childhood, admits: "I did not know at the time that the names for much of my feeling about [my father] were really dread and anger” (emphasis added). Children, having neither the vocabulary nor the autonomy, don't know these things until later.

If only we could skip all the bewildering memories and have just the good ones. Sometimes I play a game inside my head, going through the years and picking out a series of happy highlights: a fun picnic, a special holiday, a surprise present, and so forth. I think to myself, what if I focused only on these things and let myself forget all the rest? Sadly though, that starts to feel unbearably artificial -- Lamott has already named it: "that's called denial." More truthfully, all the negative counterparts are hovering at the edge of my memory, awaiting validation. Does Time assuage? No it doesn't.

A Few More Connections
1. Additional Emily Dickinson poems
featured in essays by Duo Dickinson

A beautiful poem about both carpentry & parenting:

The Props assist the House
Until the House is built
And then the Props withdraw
And adequate, erect,
The House support itself
And cease to recollect
The Augur and the Carpenter –
Just such a retrospect
Hath the perfected Life –
A Past of Plank and Nail
And slowness – then the scaffolds drop
Affirming it a Soul –

Facing reality:
The Things that never can come back, are several —
Childhood — some forms of Hope — the Dead . . . ~ on facebook

Honoring the child:
Caught Between Two Worlds ~ on facebook

"Every parent comes to know that you have nothing to do with the beauty of your children and every responsibility not to betray it."

2. Ursula Nordstrom: “I am a former child, and I haven't forgotten a thing.”

3. Francine Tolf offers a forgive and forget [or better yet, remember and forgive] scenario, in the poem "Across Time and Death." Recalling a long ago evening of patience and tenderness, she writes:

"Let me dwell on this scene when I am tempted to finger
some distant hurt they caused, for even in middle age,
pain fom childhood thrives greedily if given nourishment.
Let me cradle the seed of this long - ago night to remember
the goodness of these two people, and to tell them out loud
across time and death and the imperfect understanding
that stains every human relationship:
I thank you, I honor you, I love you."

4. Nadia Bolz-Weber: "Perseverating negatively about the past, especially in terms of our resentments about what other people did to us, keeps us stuck in a maze. And being in that maze keeps us from moving forward. And it is difficult to leave the maze because our ego demands fairness. And since it is the PAST, usually there is no real resolution to be had. There is no adjudicatory process available to us . . . ." [previously on FN & QK]

5. Life can feel so unfair but is, in fact, so neutral:
Thomas Hardy's poem, "Going and Staying"

6. Another example of adults foisting weirdly interpreted religion onto kids; but thank goodness they don't always fall for it:

Actor ~ Steven Yeun's recent discussion of his religious upbringing on The Late Show With Stephen Colbert:

" 'I do have a favorite verse,' he said. 'I was taught this in sixth grade. It’s Romans 12:2: "Do not conform to the patterns of this world but be transformed by the renewing of your mind. Then you’ll be able to test God’s good and perfect will." '

"Yeun then explained his confusion on leaders who interpreted that to mean 'Don’t do secular things, just do Christian things.'

" 'I was like, "That’s doesn’t seem at all like what the verse said," he said. 'And I’ve been unpacking it ever since.' "

Next Fortnightly Post
Sunday, May 14th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogsppot.com

Grief & Relief

FOUND ART AT THE CEMETERY,
ACCUSTOMED, CERMONIOUS

I came across this fabric rose
at the Garden of Rest in Crosby, England,
all by itself on the ground.

A Fortnightly ago,
I re-cycled a meaningful Quotidian post
from ten years ago, on the topic of confidence.
For the next few weeks, I have decided to search out others
that seem deserving of an appearance on the Fortnightly.

The following initially appeared
on The Quotidian Kit ~ April 26, 2010,
reprinted here with a few minor changes:
One of Ann Lamott's anecdotes that has always stayed with me is the conversation she has with a priest when she is first pregnant with Sam and can't decide what to do.This passage is tied in with her difficult decision about whether or not to let young Sam go paragliding for his seventh birthday. I like the way that "grief" and "relief" are woven together in Lamott's thought process and in the priest's advice. He says that when it's a question of feeling

" . . . a deep and secret sense of relief, pay attention to that.
But if you feel deeply grieved at the thought, listen to that."

~ Traveling Mercies, 86 ~
Of course, sometimes (this is my observation, not Lamott's), the decision that brings deep relief is also deeply grieving. Maybe in those cases you just have to focus on the relief and give it precedence over the grief. Otherwise, you end up trying to fix one mistake by making another mistake, and that never works.


Additional thoughts on grief and relief:

"The truth about our childhood is stored up in our bodies, and although we can repress it, we can never alter it. Our intellect can be deceived, our feelings manipulated, our perceptions confused, and our bodies tricked with medication. But someday the body will present its bill."

Alice Duer Miller (1874 - 1942)
American writer, mathematician, suffragist

I came across this passage a few years ago in The Old Farmer's Almanac Millennium Primer. This turn of the (recent) century handbook features a lot of silly old rhymes and folklore, but occasionally a thought or two will strike me as meaningful. I was wavering on this passage -- smart or stupid? love it, hate it? I kept going back to it, even though I had moved beyond that page. It seems a rather modern idea if you assume that what she means by "body" is what we post-Freudians might call "psyche" and if we assume that "childhood," as Miller uses the term, can be equated with "grief." Thus: "The truth about our childhood [GRIEF] is stored up in our bodies [PSYCHES]."

Rereading Anne Lamott, I came across a comment that increased my understanding of Miller's perspective:

"But what I've discovered . . . is that the lifelong fear of grief keeps us in a barren, isolated place and that only grieving can heal grief; the passage of time will lessen the acuteness, but time alone, without the direct experience of grief, will not heal it."

Traveling Mercies, 68
Anne Lamott (b 1954)
American writer and progressive political activist

And yet another way in which the bill is paid:

"Time engraves our faces with all the tears we have not shed."

Natalie Clifford Barney (1876-1972)
American writer, lesbian activist, and salon hostess
expatriate living in Paris and writing predominantly in French

A Sad Childhood
"in a barron, isolated place"
Jane Eyre by Charlotte Bronte (1816 - 1855)
Illustrated by Fritz Eichenberg (1901 - 1990)

You can cover grief [or childhood] up and refuse to experience it, but it's still there, under layer upon layer of life, making you sad at the very core of your being -- that "barren, isolated place." Maybe experiencing all that buried pain as a path to self - acceptance is our 21st Century understanding of Miller's earlier metaphor of the body presenting a bill. The psyche will present its bill. Or the disasters of your life will be your bill. We either experience and accept that grief (i.e., pay the bill), or we live out our adult lives sick at heart, sick in body, soul, and spirit.

But not to sound too hopelessly hopeless! In fact, Lamott says that sometimes something amazing can happen:

"I would call it grace, but then, I'm easy.
It was that deeper breath, or pause or briefly cleaner glasses,
that gives us a bit of freedom and relief. "

~ Grace (Eventually): Thoughts on Faith, 232 ~
[emphasis added]

Here's to briefly cleaner glasses! That's a good start!

Lamott on caution / conscience / consciousness: "Don't be afraid of your material or your past. Be afraid of wasting any more time obsessing about how you look and how people see you. Be afraid of not getting your writing done. . . . Don't worry about appearing sentimental. Worry about being unavailable; worry about being absent or fraudulent. Risk being unliked. Tell the truth as you understand it" (Bird by Bird, 226).

Lamott on quieting the voices in your head: "Close your eyes and get quiet for a minute, until the chatter starts up. Then isolate one of the voices and imagine the person speaking as a mouse. Pick it up by the tail and drop it into a mason jar. Then isolate another voice, pick it up by the tail, drop it in the jar. And so on. Drop in any high-maintenance parental units, drop in any contractors, lawyers, colleagues, children, anyone who is whining in your head. Then put the lid on . . . imagine that there is a volume-control button on the bottle. Turn it all the way up for a minute, and listen to the stream of angry, guilt-mongering voices. Then turn it all the way down . . .and get back to your shitty first draft" (Bird by Bird, 27).

More of my favorites from Anne Lamott:
QK: Like a Little Gnome!
And on Kitti's List
And so much more!

The Drip
by Eugene Christopherson (1939 - 2007)

This sweet little print came into my life
when my dear friend Vickie sent a vintage copy
of the above illustrated Jane Eyre
as a present for my little grand-daughter, Ellie
-- her first Bronte novel! Unbeknownst to Vickie,
a blank antique notecard was tucked inside the pages,
featuring this tiny tot by Christopherson.

Thank you Victoria Amador!
Next Fortnightly Post
Friday, April 14th

Between now and then, read
THE QUOTIDIAN KIT ~ Eichenberg & Christopherson
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogsppot.com

Cursive

ACCUSTOMED, CEREMONIOUS
D'Nealian Script, a cursive alphabet — lower case and upper case.

"I've always believed that there was a certain age
after which I would be all well and I'd stop feeling
as if I'd been abandoned here on earth with no explanation.
When I was little, the magic number was 6 --
the first - graders had maturity, secret information
(like gnostics), and lunch boxes. Then 13, 18, 21 . . ."
~ Anne Lamott ~
from Grace Eventually (p 243)
When I read these words a few years ago, I identified at once with Lamott's first - grade faith that all would be well and her misconception that the bigger kids had all the answers. Her gradual deflation expresses precisely the dismay that I felt back in grade school when I learned the truth about cursive writing -- that it was a sham, a trick, a false lead. My first real disillusion, way worse than finding out about Santa Claus!

I shared my cursive writing story recently with epigrammatist, writer and artist Michael Lipsey when he posted a similar sentiment on facebook:

"The biggest misconceptions of youth are that
somehow things will fall into place as you get older,
that there will be answers to the larger questions,
that you will attain maturity, and certainties,
and self-confidence. Perhaps this is true
if you have a talent for self-deception.
But eventually you figure out
that there won’t be any of these things --
that you will just have to muddle through
as best you can until the end."

[Previous thoughts from Michael Lipsey on my blog:
"A Little Crazier" ~ "Parallax" ~ "First Friday"
And future thoughts: "My Times" & "Winnow the Dreams"]
The words of Lamott and Lipsey brought to mind something that my wise eldest brother wrote to me back in 2002, following an introspective late summer conversation beside the pool:

Dave wrote: "In 1996, I truly thought that going back to school would be a turning point. I guess it was one more door that I thought had a magic chalice or a secret code word behind it. As a kid growing up I was always convinced that sooner or later I would turn a corner and all the concealed things of the adult and/or bigger world would be revealed. First I thought it was puberty but that just brought the usual frustrations and problems. Then I was convinced that it was being a teenager but that also was more frustration. Somehow I just knew that when I turned 16, Dad would take me aside and clear everything up.

"I was also sure that the Marine Corps [1965] would be a lease on a whole new life which, in a way, it was but not in the way I anticipated. When I was in Chicago and turning 21, I knew intellectually that it meant nothing but still had a secret hope that there was a missing block of knowledge that I would be privy too. After that I quit looking for magic doors but still held the inner kid hope that something would turn up. Hell I even joined the Masons when I was 42. There are no magical turning points. No epiphanies. No blinding lights. Just the slow process of living and doing and trying to make the pieces connect as you roll along [emphasis added].

"I have finally come to the conclusion that it isn't what you do but where your head is at when you do it. That's why old men can fish where there are no fish, talk when there are no listeners and write when there are no readers. They don't require the other side of the equation to feel complete, albeit a bit melancholy at times."
~ from Dave the Brummbaer

[Previous posts from Dave Carriker on my blog:
"Up & Down" ~ "It's Magic" ~ "Porsche"]
My brother's description of waiting for the big moment when all would be revealed to him by Dad or God or the Marine Corps or whomever reminded me of that disappointing day that I have never forgotten when I came home from grade school, having made the big leap from printing to cursive writing. I had been looking forward to this milestone for a long time (or so it seemed in my short life), starting back in first grade when I could only print, anticipating the secret joy of cursive writing to be learned in second grade.

I was kind of like giddy Gilderoy Lockhart (former Defense Against the Dark Arts teacher) who childishly brags when offering autographed copies of his photographs: "I can do joined - up writing now, you know!" (Harry Potter and the Order of the Phoenix, p 509).

The long summer between first and second grade came to an end, and I received my cursive writing workbook and soon mastered the task of joining the letters. Somehow, though, it was not quite as exciting as I had expected. In fact, after the big build - up, it did not really seem that much different than printing after all. Maybe the real fun was yet to come, in a more advanced step that would follow the mere connection of letter to letter.

So I asked my older sister Peg: "How long before we start connecting the words?" Imagine my dismay when she informed me that this would not be happening! Of course, the difficulty of deciphering "joined - up" words had never even crossed my mind. As far as I was concerned, that was just another one of those as-yet-to-be-revealed skills. I can still remember the "you-funny-little-kid" expression on Peg's face as she prepared me for the big let down: "You don't ever connect the words; those gaps are always there! What? This was it? No answers to the larger questions? I had arrived . . . already? Was I ever astonished!

It was supposed to be like those tender lines from Neil Young's beautiful song, "Philadelphia: City of Brotherly Love":

"And when I see the light
I know I'll be all right.
I've got my friends in the world,
I had my friends
When we were boys and girls
And the secrets came unfurled."
But no. There was no unfurling.

This was no doubt my first inkling that the Platonic vision of complete perfection might never become available to me here on earth. I guess we have to wait until the afterlife to see all the words connected -- and all the worlds. For the time being, we write through a glass darkly, filled with gaps, searching for connections.

Leonardo da Vinci's Mysterious Mirror Writing

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Tuesday, August 28th

Between now and then, read
THE QUOTIDIAN KIT ~ Earl's Birthday ~
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Love Is Not All

AN ENCHANTED GARDEN
WHERE ALL'S ACCUSTOMED, CEREMONIOUS

APPLE BLOSSOMS ~ JOHN EVERETT MILLAIS

"WE . . . HAVE BECOME EXTRAORDINARY: WE ARE NOT SIMPLY EATING; WE ARE PAUSING IN THE MARCH TO PERFORM AN ACT TOGETHER; WE ARE IN LOVE AND THE MEAL OFFERED AND RECEIVED IS A SACRAMENT WHICH SAYS: I KNOW YOU WILL DIE; I AM SHARING FOOD WITH YOU; IT IS ALL I CAN DO, AND IT IS EVERYTHING."

~ ANDRE DUBUS ~

The Enchanted Garden *". . . a rose can only smell so achingly sweet
to those who know that someday they will die to that smell,
to it and to every other joy and sorrow." ~ Kathryn Harrison
My last post, "Love You Can't Imagine" ~ in celebration of Valentine's Day (click or scroll down) ~ drew to a close before I was able to incorporate all of the great selections that I was hoping to connect. So I have assembled today's post out of that remaindered material, including a couple of somber sonnets by Edna St. Vincent Millay, and a few sobering thoughts from Anne Lamott. As my father used to say when we had inadvertently left something behind -- a garment for dry cleaning, an overdue library book, a stack of newspapers on trash day -- "Well it's alright to save some over for seed." Over for seed. We weren't even farmers, but how I grew to love my dad's rustic way of saying, "I meant to do that!"

Another little intentional error ~ as in, "I meant to do that" ~ was saving this post, scheduled for the 28th, until today, Wednesday, February 29th! Since the opportunities for celebrating Leap Day are relatively rare and complicated, it would be a shame to let the chance pass by unobserved. Many of the customs and traditions of this every - four - yearly occasion are romantic in nature, providing a most fitting coda to Valentine's Day.

You might recall that, previously, I included Kathryn Harrison's observation, from her article "Connubial Abyss", that love must necessarily acknowledge the reality of death and loss: "Marriage is made, from the start, between two people who are willing to contemplate death together -- to have and to hold, until death do them part. Such contemplation is possible only for those who understand and embrace the boundaries of a life, both temporal and existential."

In her book Grace Eventually, Anne Lamott writes of her struggle to embrace these same boundaries, to come to grips with the sad inevitability "that every person you've loved will die -- many badly, and too young . . . the unbearable truth that all the people you love most will die, maybe in painful circumstances." Thinking of her son, she is filled with anguish but also acceptance: "I knew deep down that life can be a wretched business, and no one, not even Sam, gets out alive" (59, 162, 193).

A Tale from the Decameron ** painting here & above by English Pre-Raphaelite,
John William Waterhouse (1849 - 1917)
[See also: "To See A Fine Picture"]
Like Harrison and Lamott, Edna St. Vincent Millay blends romance and cynicism. She knows what love is and what it isn't. "It is not meat nor drink," but it is enough to hold death at arm's length. It is the memory of sharing with another, a memory worth more to the poet than food or peace:

Love is not all: It is not meat nor drink
Nor slumber nor a roof against the rain,
Nor yet a floating spar to men that sink
and rise and sink and rise and sink again.
Love cannot fill the thickened lung with breath
Nor clean the blood, nor set the fractured bone;
Yet many a man is making friends with death
even as I speak, for lack of love alone.

It well may be that in a difficult hour,
pinned down by pain and moaning for release
or nagged by want past resolution's power,
I might be driven to sell your love for peace,
Or trade the memory of this night for food.
It may well be. I do not think I would.
~ from Fatal Interview

Detail from Primavera by Sandro Botticelli, 1445 - 1510
As in Botticelli's allegory of spring, Love is often painted blind. In the following sonnet, however, it is the lover deprived of love who travels blindly. Rather than a plump little blind - folded cupid, Love is described by Millay as "the eyes of day," "charity," "a lamp," a candle with a wick. The narrator testifies that she would never be the one to put out the eyes of Love or abandon him along the roadside. She is too well aware that human endeavor is dependent upon the light of love, that even "the torn ray / Of the least kind" is better than no love at all.

The poet is the champion of love, "however brief," however distressed, ill - timed, or "ill - trimmed." Without the light of love, it is the Poet, not Love, who is rendered blind, scuffling "in utter dark" tapping the way before her . . .

When did I ever deny, though this was fleeting,
That this was love? When did I ever, I say,
With iron thumb put out the eyes of day
In this cold world where charity lies bleating
Under a thorn, and none to give him greeting,
And all that lights endeavor on its way
Is the teased lamp of loving, the torn ray
Of the least kind, the most clandestine meeting?

As God's my judge, I do cry holy, holy,
Upon the name of love however brief,
For want of whose ill-trimmed, aspiring wick
More days than one I have gone forward slowly
In utter dark, scuffling the drifted leaf,
Tapping the road before me with a stick.
~ from Huntsman, What Quarry?

Cupid & Psycheby Antonio Canova, 1757 - 1822

"Love looks not with the eyes, but with the mind;
And therefore is wing'd Cupid painted blind."
~A Midsummer Night's Dream~
Act I, scene i
SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Wednesday, March 14th {or thereabouts}

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Divine Homesickness: If Only In My Dreams

A HOUSE WHERE ALL'S ACCUSTOMED CEREMONIOUS

"THERE'S NO PLACE LIKE HOME, THERE'S NO PLACE LIKE HOME"

********************
"When we are constantly focused on externals,
we are not centered, that is, we are not aligned
internally -- body, mind and soul.
Without that alignment,
we have a case of Divine Homesickness.
We feel empty and lost, always trying
to find our way Home . . . always
looking for something 'out there' to fill us up.
And nothing out there can."

from
The Little Book of Peace of Mind
by Susan Jeffers
Similarly, Anne Lamott writes that "all of the interesting characters I've ever worked with -- including myself -- have had at their center a feeling of otherness, of homesickness" (Bird By Bird, 200). From Jeffers, Lamott, and the following two passages, by Buechner and Rushdie, we can construct a poetics of divine homesickness, one that resonates strongly with me because I am from Missouri, I am from Kansas, not just metaphorically but actually.

The Child In Us
We weren't born yesterday. We are from Missouri. But we are also from somewhere else. We are from Oz, from Looking-Glass Land, from Narnia, and from Middle Earth. If with part of ourselves we are men and women of the world and share the sad unbeliefs of the world, with a deeper part still, the part where our best dreams come from, it is as if we were indeed born yesterday, or almost yesterday, because we are also all of us children still.

No matter how forgotten and neglected, there is a child in all of us who is not just willing to believe in the possibility that maybe fairy tales are true after all but who is to some degree in touch with that truth. You pull the shade on the snow falling, white on white, and the child comes to life for a moment. There is a fragrance in the air, a certain passage of a song, an old photograph falling out from the pages of a book, the sound of somebody's voice in the hall, that makes your heart leap and fills your eyes with tears.

Who can say when or how it will be that something easters up out of the dimness to remind us of a time before we were born and after we will die? The child in us lives in a world where nothing is too familiar or unpromising to open up into a world where a path unwinds before our feet into a deep wood, and when that happens, neither the world we live in nor the world that lives in us can ever entirely be home again, any more than it was home for Dorothy in the end either, because in the Oz books that follow The Wizard she keeps coming back again and again to Oz because Oz, not Kansas, is where her heart is, and the wizard turns out to be not a humbug, but the greatest of all wizards after all.
from Listening to Your Life,"The Child in Us * May 6"
by Frederick Buechner
Buechner analyzes the myth of Oz more thoroughly in Chapter 4 of his book, Telling the Truth: The Gospel as Tragedy, Comedy, and Fairy Tale. Likewise, author, Salman Rushdie employs the Oz metaphor when describing the impossibility of a backward quest for childhood innocence.

Out of Kansas
"So Oz finally became home; the imagined world became the actual world, as it does for us all, because the truth is that once we have left our childhood places and started out to make up our lives, armed only with what we have and are, we understand that the real secret of the ruby slippers is not that 'there's no place like home', but rather that there is no longer any such place as home: except, of course, for the home we make, or the homes that are made for us, in Oz: which is anywhere, and everywhere, except the place from which we began" (see more).
from Step Across This Line: Collected Nonfiction 1992-2002,
Essay #1: "Out of Kansas"
by Salman Rushdie
I still love to hear Karen Carpenter sing "I'll Be Home For Christmas, If Only In My Dreams," but I feel differently about this song than I used to. I used to think it was about people who weren't able to travel "home for the holidays" to be with everyone else. Now I'm more inclined to think it's about people who have to travel or have traveled, when all they really want is the privacy of their own home. There they are surrounded by all their loved ones, but what they crave is to be home alone -- if only in their dreams.

Not to be all bah - humbug about it, but now whenever I hear lyrics like "I'll Be Home for Christmas" or "There's No Place Like Home for the Holidays" or "There's No Christmas Like Home Christmas," my response is Precisely! Home. H - O - M - E. Not someone else's home. Not someplace that used to be home. Your own home. Where your heart is. As John Denver sings:

"Home is where the heart is,
and Christmas lives there too."SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Saturday, 14 January 2012

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Outside Looking In

Ad Hairenum

ACCUSTOMED, CEREMONIOUSLADY LILITH, 1866 - 68 ~ BY DANTE GABRIEL ROSSETTI (1828 - 82) "Rosetti makes Lady Lilith's long flowing hair the central focus of the composition." ~Breanna Byecroft

***************
In keeping with my recent hair-stories, Gerry picked this birthday card for me (and carefully added the glasses by hand). Cute!

Also arriving on my birthday was this little hair-story:

Tight Perm:
If you get a tight enough perm, she told me,
it's almost as good as a face lift.
But she had worked around a lot
of toxic chemicals in the 60's,
so I gave her the benefit of the doubt.
by Brian Andreas . . .
"telling people about a better way of seeing."
"Tight Perm," showed up as my "Story of the Day." and immediately brought to mind a recent discussion with my curly - haired friend Eileen about a hair "relaxing" treatment called the Brazilian Blowout; she is also the one who said ad hairenum, which I stole for my title! Because of our natural curl, we have both been receiving numerous suggestions to try the scary - sounding "Brazilian Blowout," because it will make us shinier, save on styling time, and give us a "more professional" look. But she says, "No! It's fun being curly girls! Curls are purty! And our products have clever names like Be Curly, Bed Head, Control Freak, Deva Curl, and Mixed Chicks."

Repressing natural curl: why do we do it? In my last post (scroll down to read Scary Hair), I described a few fictional characters who struggle between accepting, changing, and apologizing for their natural curl. In real life, I myself have been known to straighten and oppress my hair upon occasion; but Eileen is adamant when it comes to the implements of hair torture, e.g., giant rollers (that was the old days), flat irons, and so forth: "I will not do it!" And her opinion of the Brazilian: "I think it's the botox of hair!"

See the connection here?
Tight perm = face lift,
Brazilian blowout = botox!

I know there is truth in Eileen's observation that behind the desire for fake straight hair lies the troublesome issue of conforming to "the rules of mainstream white beauty" (Anne Lamott's phrase). Not to mention various other issues of acceptance and celebration, surrender and control, prejudice, aesthetics, and personal insecurity. In Traveling Mercies, Lamott describes her first - hand experience with extremely curly hair:

"Can you imagine the hopelessness of trying to live a spiritual life when you're secretly looking up at the skies not for illumination or direction but to gauge, miserably the odds of rain? Can you imagine how discouraging it was for me to live in fear of weather, of drizzle or downpour? . . . Obviously, when you really want this [spiritual] companionship and confidence but you're worried about your bangs shrinking up like fern fronds, you've got a problem on your hands."

Lamott recounts the liberating scene in Shawshank Redemption when Andy stands in the pouring rain with his arms outstretched. She confesses, " . . . if I were the prisoner being baptized by the torrential rain, half my mind would be on how much my bangs were going to shrink up after they dried." Ultimately Lamott concludes that "it would be an act of both triumph and surrender to give up trying to have straighter hair."

Sure you want to have the right priorities and keep your mind on higher things, but you also have to live down the prejudiced notions: "good children have shiny combed hair, while bad children, poor children, loser kids, have bushy hair"; the unkind remarks: "did you you stick your finger in a light socket"; even racist insults in Anne's case, because, though fair in color, the texture of her "crazy hair crown," tends toward wiry and kinky -- making it perfect for the cool dreads that she now wears. I admire her soul - searching explanation of making the switch to this new style:

"First of all, I felt it was presumptuous to appropriate a black style for my own liberation. But mostly when I thought about having dreadlocks, I felt afraid and disloyal. Dreadlocks would be a way of saying I was no longer going to play by the rules of mainstream white beauty. It meant that I was not longer going to even try and blend. It was a way of saying that I know what kind of hair I have, I know what it looks like, and I am going to stop trying to pretend it's different than that. That I was going to celebrate instead" (all quotations are from Traveling Mercies, 6 - 13, 229 - 37).

Anne Lamott







Alice Walker









Interestingly, both Anne Lamott and Alice Walker cite over-investment in haircare as an impediment to spiritual liberation. In Walker's terrific essay, "Oppressed Hair," she explains why accepting your hair on its own terms is crucial to a larger sense of self-acceptance and personal growth. She personifies her hair in the most delightful way: "I discovered my hair's willfulness, so like my own! I saw that my friend hair, given its own life, had a sense of humor. I discovered I liked it. . . . I would call up my friends around the country to report on its antics."

She describes her realization, practically an epiphany "that in my physical self there remained one last barrier to my spiritual liberation, at least in the present phase: my hair. Not my friend hair itself, for I quickly understood that it was innocent. It was the way I related to it that was the problem. I was always thinking about it. So much so that if my spirit had been a balloon eager to soar away and merge with the infinite, my hair would be the rock that anchored it to Earth. I realized that there was no hope of continuing my spiritual development, no hope of future growth of my soul, no hope of really being able to stare at the Universe and forget myself entirely in the staring (one of the purest joys!) if I still remained chained to thoughts about my hair."

Well, it requires thoughtfulness and fortitude to break those chains! However, if there's anyone who can put the issue into perspective, it's these two admirable women: wise Alice Walker who asks if we can ever achieve equality as long as woman aspire to look another way than what they are: light instead of dark, tan instead of pale, blonde instead of brunette, straight instead of curly; and honest Anne Lamott who points out that surrender is not all bad: "giving into all those things we can't control," letting go of "balance and decorum," befriending our hair.

Complete Picture from which above detail is taken,
face of Alexa Wilding, 1868
Original Version, face of Fanny Cornforth, 1867Also by Rossetti
SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Tuesday, June 14, 2011

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Scary Hair

ACCUSTOMED, CEREMONIOUS

"It is not in the stars to hold our destiny but in our hair."
~~ Mixed ~ Up Shakespeare ~~
Moon & Stars Garden Mosaic by Ben McCartney, at age 12 (2002)

****************
Gathering Electrons
This hair gathers electrons
from the atmosphere & uses it
to perpetuate new ideas about
hair's role in the history
of civilization.
by Brian Andreas . . .
"telling people about a better way of seeing."
Go to the StoryPeople website and you'll notice that an appreciative reader named Becky has nearly taken the words right out of my mouth:

"This must have been written by someone who has natural curly hair like me! This is the story of my life... every day is a bad hair day... but only if you let 'them' dictate what beauty is: long, straight hair on a stick thin body! I prefer to let my curls express their own beauty!" [ellipses in original]
I know just what Becky means about "them" and their dictates. Most recently it was the television show, Arrested Development. I had the ill-timed fortune of sitting down to watch right at the part where they start making fun of the girl with glasses and frizzy hair. Writers seem to love that tired cliche, but I don't. Besides, it's such old material, it's not even funny, especially if you happen to have glasses and frizzy hair. Remember Princess Diaries? Anne Hathaway is "beautiful" when she puts in her contacts and straightens her hair but "ugly" with her curly hair & glasses. Now why is that?

What a treat when "Gathering Electrons" turned up as my Story of the Day! It seems that I have been telling hair stories for as long as I can remember. I could go on and on upon the topic and often do. Even my Royal Wedding tribute was a story about my hair:

See "Royal Hair" on the Quotidian Kit
Scary Hair / Scary Glasses !
In this picture from college days, my twin brother Bruce says that I have "Scary Hair." We also have fun describing an earlier photograph, from 8th grade [sorry, I don't have a copy] in which he appears to have his arm around my shoulder but is in fact suppressing my springy hair behind my back! My friend Eve, blessed with a texture similar to mine, refers to this as our "Easter Grass Hair."

Just last summer, my husband Gerry and I were out in the garden checking out our raspberries, and I mentioned that the mosquitoes didn't seem as bad as they had the night before. In reference to the fact that after swimming I had allowed my hair to air - dry in its naturally unruly fashion, i.e., pretty much standing straight out from my head, Gerry responded: "Maybe they're scared of your hair!" Now that really made me laugh.

I got a similar laugh out of the young heroine in the memoir Miss American Pie: A Diary of Love, Secrets and Growing up in the 1970s by Margaret Sartor. I enjoyed the fact that she has crazy frizzy hair like mine! On 2 November 1976, she writes in her diary, "Jimmy Carter was elected president and Daddy said he won because it was such a beautiful day all over the South. This would seem to suggest a connection between the presidency of the United States and the frizziness of my hair" (198). This reminds me of the boy at my high school graduation (a day of high humidity) who said, "Kitti, your hair looks like the Wrath of God." Gee, thanks! But, really, I took it as a compliment!

Margaret Atwood
Novelist, poet and playwright
And it's not just me and Margaret Sartor; there are numerous literary connections! When I met Margaret Atwood back in the early 80s, in addition to discussing her novels, we shared stories of how people kept mistaking our natural curl for fake and asking us where we got our hair permed. Alice Walker and Anne Lamott have written at length about their naturally curly hair. Even understated Emily Dickinson wrote: "My hair is bold like the chestnut burr." And remember Shakespeare's Dark Lady: "Dark wires grow on her head" (Sonnet 130). Sounds like natural frizz to me!

More recently, take The Guernsey Literary and Potato Peel Pie Society, in which two pen-pals describe themselves to each other before meeting for the first time. Isobel warns Juliet: "I do not have a pleasing appearance. . . . my hair is wild and will not stay tamped down." Isobel has seen a photograph of Juliet and observes: "It must have been a windy day because your curls are blowing all about." Juliet responds: "It wasn't a windy day; my hair always looks that way. Naturally curly hair is a curse, and don't ever let anyone tell you different" (53, 117 - 18).

And then there's The Help, which I'm sure many of you have read in the past few months. Along with all the weighty social and personal conflicts with which the various characters are struggling, there is also Skeeter's relentless quest, urged on by her beauty - conscious mother, for smooth straight hair. With her naturally curly / frizzy hair, she is considered less lovely, taken less seriously. Thus she willingly subjects herself to the "Magic Soft & Silky Shinalator," complete with "Miracle Straightening Cap," (127 - 28). By the end, however, "Her hair's long without no spray on it. The weight of it's worked out the curl and frizz" (461). That also sounds like magic to me, something that might not really work for most people in real life, but still the message is clear: Skeeter has made a choice against convention and repression. She has decided in favor of her own individuality. No more fake straight hair.

Shinalator
The symbolism works differently for Liv, the main character of Jennifer Belle's lovable, sarcastic novel High Maintenance. Whereas Skeeter's long, untended hair represents her independence, Liv's rebirth is symbolized by going from curly to straight, with a little professional assistance. The title -- High Maintenance -- refers not so much to emotional neediness as it does to the condo fees that go along with the properties that Liv sells in her job as a New York City realtor. At the very end of the novel, the phrase describes Liv's newly styled hair: "With my new keys in my pocket, I stopped in at Tortolla to have Tom do my hair. He blew it out straight for the first time. My long black wavy hair became . . . straight and Japanese looking . . . I loved it. I sat beaming in the chair. 'I always want my hair like this.'" Tom warns her how difficult it will be to maintain this look, how costly and time - consuming: "It's way too high maintenance for you," he concludes. But Liv is determined: "I want high - maintenance hair!" Not because she wants to be dependent upon Tom or the dictates of hair fashion; but because she wants to shape her own destiny: "I can handle it" (335).

These are just a few of the many electrons I have already gathered from the atmosphere for perpetuating new ideas about the role of hair in literature.

More to come . . .
Anne Lamott







Alice Walker









Post - Swim Easter GrassFrizzy Hair and Glasses (and Beaumont)
My real hair: somewhere in between
the Wrath of God and Fake Straight
P.S. My advice for the coming summer: if you have to choose between straight hair & swimming, don't fight the curl: CHOOSE SWIMMING!

The Little Door

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

Carriage House in University City, West Philadelphia
Here is the Little Door
Lift up the latch; O lift!
We need not wander more,
but enter with our gift . . . "
~ Chesterton

"Strive to enter through
the narrow door:
for many, I tell you,
will try to enter
and will not be able."
~ Luke 13: 22

[L: The Cutest Playhouse
in all of Philadelphia!]


There are numerous symbolic doors in literature: opening, closing, revolving, inviting, forbidding, remaining locked forever. As I read on a poster once, "There are as many doors as there are desires." Here are four of the most meaningful doors that I have come across in my reading:

1. In Anne Lamott's Bird by Bird,
a door representing one's own humanity:

"We write to expose the unexposed. If there is one door in the castle you have been told not to go through, you must. Otherwise, you'll just be rearranging furniture in the rooms you've already been in. Most human beings are dedicated to keeping that one door shut. But the writer's job is to see what's behind it, to see the bleak unspeakable stuff, and to turn the unspeakable into words -- not just any words but if we can, into rhythm and blues.

"You can't do this without discovering your own true voice, and you can't find your true voice and peer behind the door and report honestly and clearly to us if your parents are reading over your shoulder. They are probably the ones who told you not to open that door in the first place. . . .

"'Why, though?' my students ask, staring at me intently. 'Why are we supposed to open all these doors? Why are we supposed to tell the truth in our own voice?'

. . . And it's wonderful to watch someone finally open that forbidden door that has kept him or her away. What gets exposed is not people's baseness but their humanity. It turns out that the truth, or reality, is our home" (198 - 200).

2. In Edna St. Vincent Millay's sonnet "Bluebeard,"
a door representing privacy:

This door you might not open, and you did;
So enter now, and see for what slight thing
You are betrayed…. Here is no treasure hid,
No cauldron, no clear crystal mirroring
The sought-for truth, no heads of women slain
For greed like yours, no writhings of distress,
But only what you see…. Look yet again—
An empty room, cobwebbed and comfortless.
Yet this alone out of my life I kept
Unto myself, lest any know me quite;
And you did so profane me when you crept
Unto the threshold of this room to-night
That I must never more behold your face.
This now is yours. I seek another place.

Lamott's words give me courage when my self - editor starts taking over. Her metaphor reminds the writer that keeping a lock on the door does not guarantee safety. Any more than opening it wide insures disaster. In fact, opening up may well put you in less danger, not more. So go ahead and grant yourself the freedom of self - acceptance. However, as Millay warns, just don't go bashing down doors that aren't yours to open. That's not the path to authenticity or humanity.

3. In Franz Kafka's parable, "Before the Law,"
a door representing the Law:

"Before the law sits a gatekeeper. To this gatekeeper comes a man from the country who asks to gain entry into the law. But the gatekeeper says that he cannot grant him entry at the moment. . . . the law should always be accessible for everyone, he thinks, but . . . he decides that it would be better to wait until he gets permission to go inside. The gatekeeper gives him a stool and allows him to sit down at the side in front of the gate. There he sits for waiting for days and years."

Nearing the end of his life, the man asks the gatekeeper, "so how is that in these many years no one except me has requested entry?” And the gatekeeper answers: “Here no one else can gain entry, since this entrance was assigned only to you. I’m going now to close it.” Can it be true? Following the parable, a discussion of its meaning takes place between K and a priest. The priest points out that perhaps the Door Before the Law can never be shut, and he reminds K that when the man "sits down on the stool by the side the door and stays there for the rest of his life, he does it of his own free will."

Of course my sympathy always lies with the Man Before the Law, never with the bossy, small-minded gatekeeper. Yet I can't shake my mixed feelings about the man's predicament. Yes, the Law can be contrary; we all know that. But how can he allow himself to sit so quietly, never growing impatient at the waiting, the impotence, the lack of useful information? Why doesn't his reach exceed his grasp? It should.

4. In E. B. White's essay, "The Door,"
a door representing (in)sanity:

"First they would teach you the prayers and the Psalms, and that would be the right door(the one with the circle) and the long sweet words with the holy sound, and that would be the one to jump at to get where the food was. Then one day you jumped and it didn't give way, so that all you got was the bump on the nose, and the first bewilderment, the first young bewilderment. . . .

"You wouldn't want me, standing here, to tell you, would you, about my friend the poet (deceased) who said, 'My heart has followed all my days something I cannot name'? (It had the circle on it.) And like many poets, although few so beloved, he is gone. It killed him, the jumping. First, of course, there were the preliminary bouts, the convulsions, and the calm and the willingness.

"I remember the door with the picture of the girl on it (only it was spring), her arms outstretched in loveliness, her dress (it was the one with the circle on it) uncaught, beginning the slow, clear, blinding cascade-and I guess we would all like to try that door again, for it seemed like the way and for a while it was the way, the door would open and you would go through winged and exalted (like any rat) and the food would be there, the way the Professor had it arranged, everything O.K., and you had chosen the right door for the world was young. The time they changed that door on me, my nose bled for a hundred hours--how do you like that, Madam? Or would you prefer to show me further through this so strange house, or you could take my name and send it to me, for although my heart has followed all my days something I cannot name, I am tired of the jumping and I do not know which way to go, Madam, and I am not even sure that I am not tired beyond the endurance of man (rat, if you will) and have taken leave of sanity. What are you following these days, old friend, after your recovery from the last bump? What is the name, or is it something you cannot name?"

If you have a moment, to read the entire essay, you'll find an eerily broken-hearted description of the disjunction between perception and reality. I have kept it in my folder of favorites for many years, something to reread periodically as I follow my own heart's quest for something I cannot name. As radio / telvision personality Clifton Fadiman summed it up, "E. B. White [better known as the author of Charlotte's Web] never again wrote anything like 'The Door.' Nobody has done so."

To conclude, I'll tag on a couple of German vocabulary words whose connection you will appreciate: the first, weltschmerz, particularly in relation to E. B. White's essay of pain and distortion; the second, torschlusspanik, to Kafka's Man Before the Law whose doomed life illustrates the very concept:

weltschmerz (VELT-shmerts) noun meaning world-pain or world weariness; pessimism, apathy, or sadness felt at the difference between physical reality and the ideal state.

torschlusspanik (TOR - schluss - panic) noun describing the door-shutting panic experienced at the thought that a door between oneself and life's opportunities is closing forever.

DON'T FORGET TO
CHECK BACK FOR MY
Next Fortnightly Post
Saturday, August 14, 2010

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

How to Keep on Hoping

"Girl With Red Balloon: There is Always Hope"
By contemporary British graffiti artist, Banksy.]

" . . . in a time lacking in truth and certainty and filled with anguish and despair, no woman should be shamefaced in attempting to give back to the world, through her work, a portion of its lost heart."
~Louise Bogan, 1897 - 1970
Poet Laureate of the United States, 1945-46
When my heart is aching for the world's lost heart, I turn to novels, essays, and poetry. If you are feeling sick at heart, one writer you can count on to repair some of the damage is Barbara Kingsolver. Never shamefaced, Kingsolver is a consistent advocate of common sense and social justice. Embedded within the narrative of her novel, Animal Dreams, are a number of letters written to the main character, Codi Noline, from her sister Hallie who has involved herself with life - risking work in Nicaragua. Codi, conflicted and searching for meaning in her life back home, wonders how it is that her sister is "not afraid of loving and losing," how she retains her composure and determination, always moving forward with certainty. Hallie writes back:

"What keeps you going isn't some fine destination but just the road you're on, and the fact that you know how to drive. You keep your eyes open, you see this damned-to-hell world you got born into, and you ask yourself, 'What life can I live that will let me breathe in and out and love somebody or something and not run off screaming into the woods?' . . .the very least you can do in your life is to figure out what you hope for. And the most you can do is live inside that hope. Not admire it from a distance but live right in it, under its roof. What I want is so simple I almost can't say it: elementary kindness. Enough to eat, enough to go around. The possibility that kids might one day grow up to be neither the destroyers nor the destroyed. That's about it. Right now I'm living in that hope, running down its hallway and touching the walls on both sides" (Animal Dreams, 224, 299).

Hallie's metaphor of being on the road and knowing how to drive reminds me of the E. L. Doctorow passage that Anne Lamott quotes in Bird by Bird: " 'writing a novel is like driving a car at night. You can only see as far as your headlights, but you can make the whole trip that way.' You don't have to see where you are going, you don't have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you" (Bird by Bird, 18). Life can work that way too.

Even more compelling than the driving metaphor is Hallie's description of running down the hallway of hope, touching the walls on both sides. I can almost remember that sensation from childhood, the rush that came from stretching my arms out to touch both sides of a narrow corridor at the same time. Likewise, I recall the intoxicating sensation of running outside, trailing my fingers along the borders on either side of an overgrown path or between two rows of tall vegetables in the garden. The current summer movie, The Last Airbender includes a similar scene, filmed from overhead so that the audience can see Aang, the little Child Avatar running between two hedgerows, arms outstretched, fingertips spread wide.

Hallie's simple hope for the world -- elementary kindness -- resembles the wisdom of Kurt Vonnegut, Jr.: "Please -- a little less love, and a little more common decency" (from the Prologue of his novel Slapstick). I guess calling it common decency is just an ironic play on words, since experience teaches us that it is one of the most uncommon sentiments available, despite being so necessary to peace and order. All we have to do is glance around -- international strife, national crisis, local incivility, anywhere at all -- to see how right Matthew Arnold was when he wrote in 1864 that "the general practice of the world" reposes not on common decency or common sense but on very inadequate ideas:

"The mass of mankind will never have any ardent zeal for seeing things as they are; very inadequate ideas will always satisfy them. On these inadequate ideas reposes, and must repose, the general practice of the world. That is as much as saying that whoever sets himself to see things as they are will find himself one of a very small circle; but it is only by this small circle resolutely doing its own work that adequate ideas will ever get current at all. The rush and roar of practical life will always have a dizzying and attracting effect upon the most collected spectator, and tend to draw him into its vortex . . . But it is only by remaining collected, and refusing to lend himself to the point of view of the practical man, that the critic can do the practical man any service; and it is only by the greatest sincerity in pursuing his own course, and by at last convincing even the practical man of his sincerity, that he can escape misunderstandings which perpetually threaten him" (Matthew Arnold, "The Function of Criticism at the Present Time").

It's helpful to remind ourselves that the world often seems crazy and inadequate because -- guess what? -- it is crazy and inadequate at certain times, in certain places. Speaking of inadequate ideas, too bad Arnold has to sound so classist and masculine, but what can we do at this point, aside from overlooking his gender exclusivity: "mankind," "himself," and so on? Perhaps he knew not what he did. It does seem that he's trying to say the same thing as Louise Bogan (above) about giving the world back its lost heart, about upgrading to "adequate," about leaving everything that we touch somehow better than the way we found it. We have to keep trying to do that, to stay collected and sincere, to stay within that small circle of seeing things as they are if at all possible, to keep running down the hallway touching the walls on both sides.

So how to keep hoping? How to figure out what to hope for? How to keep from selling out to the general churlishness?

Send answers soon!

Art Appreciation Sketch: Perspective Down the Hallway

DON'T FORGET TO
CHECK BACK FOR MY
Next Fortnightly Post
Wednesday, July 28, 2010

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com