“When the wound is deep, the healing is heroic. Suffering and ascendance require the same work.”
― American Sonnets for My Past and Future Assassin
Snow For Wallace Stevens
by Terrance Hayes
No one living a snowed-in life
can sleep without a blindfold.
Light is the lion that comes down to drink.
I know tink and tank and tunk-a-tunk-tunk
holds nearly the same sound as a bottle.
Drink and drank and drunk-a-drunk-drunk,
Light is the lion that comes down.
This song is for the wise man who avenges
by building his city in snow.
I know what he said in his poem.
“Decorations in a Nigger Cemetery.”
How, with pipes of winter
lining his cognition, does someone learn
to bring a sentence to its knees?
Who is not more than his limitations,
who is not the blood in a wine barrel
and the wine as well? I too, having lost faith
in language have placed my faith in language.
Thus, I have a capacity for love without
forgiveness. This song is for my foe,
the clean shaven, gray-suited, gray patron
of Hartford, the emperor of whiteness
blue as a body made of snow.
Is it not true that if we were to assemble enough of our life’s work and thoughts in one place, and dug through it carefully, we would find it would be an erector set of contradictions, or at least an odd creation with parts of it out of place? Are we to throw out everything a person creates because the worst of it is worse than we expect of them or that they expect of themselves? Is that not the nature of being human? Maybe it’s impossible to walk a straight line on a round planet forever twirling endlessly in two trajectories, one a slanted axis; the very nature of it dizzying, causing us to lose our balance once in a while and go akimbo.
One of the purposes of art is to hold ourselves and other artist’s accountable, for their genius and their failures or limitations. One of the sins of white privilege, particularly in the realm of poetry, is the reverence placed on the tradition of affluent white men of means who are held up as the pantheon of poetic tradition, without recognizing their legacy of poetry is tainted by the ease with which they found a publisher and an audience, the ease they were afforded recognition, while there were equally as many gifted voices of people of color that went unnoticed, unrewarded, unpublished, unheard. We best be careful as we venture back in literature to not let the whiteness of the page on which the words are set blind us to the whiteness of the privilege of the writer’s life that for many have persisted into the present.
Terrance Hayes has a knack for connecting the present to the past, for wading in the pools of literary history, feeling their swirling eddy’s, but then making the current his own. I love his lines; “I too have lost faith in language have placed my faith in language. Thus, I have a capacity for love without forgiveness.” These are the words at the core of how we might find a path to heal as a nation. Have we the people, lost faith in the words of our founding fathers? Words like “freedom” and “justice for all“? Maybe, if we can as a nation, hold on to love, we’ll find our way forward, even if the sins committed by our founders, in allowing slavery on these shores, and institutionalizing racism by that very act and suppression of rights under Jim Crow and segregation will never deserve forgiveness.
The Brave Man
By Wallace Stevens
The sun, that brave man,
Comes through boughs that lie in wait,
That brave man.
Green and gloomy eyes
In dark forms of the grass
Run away.
The good stars,
Pale helms and spiky spurs,
Run away.
Fears of my bed,
Fears of life and fears of death,
Run away.
That brave man comes up
From below and walks without meditation,
That brave man.
Fourteen Lines 