Robert Peake

“Every evening / words /—not stars—light the sky. // No rest in life / like life itself.”

“I hear that the axe has flowered, / I hear that the place can’t be named, // I hear that the bread which looks at him / heals the hanged man, / the bread baked for him by his wife, // I hear that they call life / our only refuge.”

I find myself drawn to poets who survived The Second World War. This, in combination with frequently watching the remarkable BBC series Foyle’s War in the evening, as well as, on a more personal note, the recent passing of my wife’s uncle, Sven—a Marine who was at Normandy, and a man of whom I was fond—has got me thinking about the profound and continuing impact of WWII. Even as Czeslaw Milosz says that Communism was the only possible response to the atrocities of the Industrial Revolution, so, too, it occurs to me that Postmodernism may well be a kind of understandable, almost logical response to the atrocities of WWII.

Part of my thinking has been fueled by researching Seamus Heaney, including a number of essays in The Art Of Seamus Heaney wherein various critics attempt to place him, as an accessible, intelligent, lyric poet, within the context of the Twentieth century, and the decline of centrality, gentility, and structure. These abstract thoughts have gained specificity through reading selected works of Paul Celan and Umberto Saba. Both men, in the face of profoundly difficult personal circumstances, heightened their attention to language in their poems. Yet in the case of Celan, the attention presses ever more inward, into a symbolic and even cryptogrammic relationship to German; whereas with Saba, his Italian becomes more specific and spare in a way that promotes universal resonance.

The Academy Of American Poets recently announced their mobile poetry website, complete with numerous poems arranged by theme or occasion and by form. Now, if anyone accuses you of being shallow, you can call up Paul Celan’s “Fugue of Death” on your iPhone, recite a few lines, and quickly prove them wrong.

Ack! It has been the equivalent of about a decade in blogging time since my last post. And now, it has come to this: pens. I have been through my share of felt-tip, rollerball, and fountain pens over time. As you can imagine, once in awhile a well-meaning acquaintance or relation, armed with the recent discovery that I write poetry, will bequeath a gilt and feathered writing implement to yours truly. Though I am, at heart, a pen pragmatist, I like dark writing and a touch of flair. That is why, even though I mostly type straight in to a plain text document on my laptop, when it does come time to put ink to paper, the Pilot Varsity is my newest top choice. Cheap, tough, light, and fluid—what’s not to like in this fountain pen? It travels well in pocket with nominal leakage, marks dark, and moves quickly. The only hiccups I’ve had are in trying to furiously scribble out words—an impulsive bad habit for any writer, where a simple strikethrough will suffice in case one changes one’s mind back to favoring the original word or phrase. In short, this pen supports all my best habits, and discourages my impetuous ones. Where else can you get that for three bucks and change?

I received a phone call yesterday from The Atlantic to inform me that I have received an honorable mention in their Student Writing Contest. I was encouraged to enter, in part, by their listing of Pacific University’s MFA program, in which I am currently enrolled, as one of the top five programs in the nation of its type. Unfortunately, according to a subsequent email, “while the editors will indeed be reviewing several of the winning manuscripts for potential publication in the magazine, there is no guarantee that any submissions will be published.” Shucks. Still, nice to receive a mention, and honorable at that, from our nation’s most intelligent periodical.

Reading the admonitions against earnestness from the old ghost that appears in Heaney’s “Station Island” part XII brings to mind Patrick Kavanagh. Whether or not Kavanagh was the conscious model for this character in Heaney’s poem, the by turns severe and antic nature of this individual has Kavanagh written all over it.

In his poem, “Prelude”, Kavanagh condemns “Card-sharpers of the art committee / Working all the provincial cities, / they cry ‘Eccentric’ if they hear / A voice that seems at all sincere.” (Collected Poems, 132) “Eccentric” was no doubt an epithet with which the iconoclast Kavanagh was familiar. Yet Heaney’s Kavanagh-esque figure, in arguing against orthodoxy, is not necessarily arguing against sincerity. He is arguing, instead, against earnestness. The difference is more than just an exercise in semantics.

Earnestness is a kind of sincerity, or endeavor toward sincerity, marked by gravitas. It is a determined manner, one that weighs consequences soberly. In this sense, earnestness finds itself at odds with mischief and irreverence. It is different, I think, than sincerity, which can include mischief, irreverence, and other forms of impolite honesty—modes Kavanagh embraced in his work. In differentiating, I would say earnestness involves a serious attempt, whereas sincerity involves a state of unvarnished being, and a willingness to look unflinchingly at what is.

Consider, for example one of Heaney’s most controversial poems, “Punishment”: