We all have a limited number of hours on this planet. If we are going to dedicate ourselves during those hours to some particular endeavor, whether it be writing or art or music or public service or the accumulation of wealth, it would behoove us to spend that time doing work that needs to be done, that creates value in our own lives and, ideally, in the lives of those around us.
One of the questions that keeps recurring in my life as a writer has to do with what might be called gravity, or weight, or perhaps necessity. While I certainly respect writers who have taken it upon themselves to do the daunting and at times discouraging work of trying to get the words right, to construct poems which are thoughtful and well-crafted, often of late I have found myself looking for something more elusive.
A large proportion of the poems and stories and essays I read—and, alas, perhaps an even greater proportion of the ones I write—might be described as being entertaining or amusing. But as a reader and as a writer I am always hoping to find my way toward a poem which is not merely artful or clever or funny or apt, but in some sense essential.
Last week I went to a poetry reading sponsored by the Marin Poetry Center at the Falkirk Cultural Center in San Rafael. The featured poets were Troy Jollimore, whom I had head of before, and Lynn Emanual, whom I had not. Jollimore read first, and I enjoyed his poems, although they seemed mostly to be the kind of poems that would come across better on paper. Lynn Emanual's poems, on the other hand, had a dramatic quality to them, and as she read them the words seemed to embody a deep authority and to convey an immediacy and sense of seriousness of purpose that I found to be very impressive. The poems felt, well, necessary. You could sense that they had been important for her to write, and it felt, at least in that moment, like it was important that I had gotten to hear them.
I wound up buying a copy of her New and Selected Poems, called The Nerve of It, and I spent the most of the next day reading and re-reading her poems. One of the ones I like the best—which she had read the previous night—was this one:
The Dig
Beyond the dark souks of the old city, beyond the Dome of the Rock
gray and humped and haunted, beyond the eyes of the men at the café
where they drink their thimblesful of hot tea, beyond the valley
with its scar of naked pipe, the perfect geometrical arcs of irrigation,
and someone incising a dark furrow in a field, some plowman's black
gutter opening through the green, she is waist deep in this open grave,
staring at the delicate puzzle of my feet. Beyond her, in the shadow
of Tel el-Hisi, daubing and dampening the earth, another woman finds
the faint brickwork of a floor spidering the dust, on the hearth's
wedge-shaped arc of shadow, a scattering of charred millet.
Nothing else for miles. Nothing but this bluff of ruin,
one decapitated tower, one "window" staved into the brick,
the bouganvillea crawling across a wall dragging its bloody rags.
She is standing here thinking she cannot bear the way this foot—
my foot—wants to step out of the earth. I don't care. I am using her
to leave the grave. And so we go on. We go on until we cannot go on
deepening my grave, and the trowel hits stone and I lie staring
while she makes the earth recede, reaches in and pulls me out,
my jaw wired shut by roots, my skull so full of dirt that suddenly
the intricate sutures come loose and, in her hands, the whole head opens.
In the shallow setting where I lay is the small triangular sail
of a scapula, the ribs like the grill of a car. She bones me like a fish.
She lays the little pieces, the puzzling odds and ends, into the dishes
of shellac and formalin. One carpal still wears the faint blue
stain of a ring. Wearily, I lay my reassembled head,
sutures rich with glue, against the wall of a filled beaker.
A fine sweat of bubbles on my chin. All night, through the window
of my jar, I watch her mend with glue and wire, the shallow
saucer of my pelvis. We are nothing. Earth staring at earth.
I'll resist the temptation to do a detailed line-by-line analysis of this poem, because I know from my own readings that such analyses can be tedious to read even when they are thoughtful and well-written. But let me just say a couple of things.
First of all, there's the sheer audacity of the piece, the daring leap of the imagination that begins in line fourteen, when it becomes clear that the voice in the poem is that of the woman whose body is being excavated. Then there's the surprising twist that at least in her own mind she's the one in charge of this operation: she is using the archaeologist as the instrument of her resurrection, watching with approval as the broken pieces of her body are being reassembled and mended. Finally, there are the startling last two sentences, which shift the point of view in such a way as to open up the poem vertiginously. Suddenly, it's not "I," it's "we." That "we" asserts the identification not only of the digger and the dug, but of the writer and the reader, and of all of us. We are nothing. Earth staring at earth.
And that, my friends, is of course the simple truth of the matter, even though it's a truth most of us manage to keep out of the range of our vision as we go about our daily routines, as if we had all the time in the world, as if we were in the world but not of it.
I can count on the fingers of one hand the people I know, children or adults, who regularly read poetry on their own. And most of those people are themselves writers. I would venture to guess that if you were to ask the average person why they don't read poetry, they'd say something like "I can't understand it," or "I don't have time," or "Poetry doesn't do anything for me."
William Carlos Williams famously observed—in a poem—that "It is difficult to get the news from poems yet men die miserably every day for lack of what is found there." If there's one necessary function that poetry can serve, for those who do choose to engage with it—it is to retrieve to our consciousness the simple truths that we so easily lose sight of. And that's what makes this poem so powerful to me.
I'll close with the last sentence of "Like God," the last poem in The Nerve of It, which suggests yet another simple truth about the unspoken contract between writer and reader:
You
did not choose to be in the story of the
matron whose bosom is like the prow
of a ship and who is launched toward
lunch at the Hotel Pierre, or even the
story of the dog-on-a-leash, even though
this is now your story: the story of the
person-who-had-to-take-the-train-and-walk-
the-dark-road described hurriedly by
someone sitting at the tavern so you could
discover it, although you knew all along
the road would be there, you, who have
been hovering above this page, holding
the book in your hands, like God, reading.
