Carved in Stone 27

The philosopher in search of his stone.

Carved in Stone

27

Miguel de Cervantes –
I read and re-read his words,
envious of his ability to reach out
with language that thrills me still.

I see him as a total entity,
while I see myself in pieces,
broken, unable to express
the simplest thoughts.

As I age, I sense the water
slipping from the water-clock,
the candles burning lower.

I still cannot make the mark
I want to make, for they are beyond me,
those marvelous word-worlds.

My words are mortal, his are immortal.
Mine just ink stains on a humble page,
his cast in print, but crafted to last forever.

As I bear witness to those powers,
so much greater than mine,
my eyes fill with tears.

Commentary:

They are beyond me, those marvelous word-worlds. Indeed they are. But I do not seek to create ‘a marvelous word-world’. I am happy with ‘ink stains on a humble page’. I seek to reach out and find those one or two people who accept me for what I am and find their own selves in a small corner of the tiny gardens I discover or create. Not a world, then, but a tiny corner of my own world, described, and offered to those who have eyes to see and ears to hear and hearts and minds to feel and understand.

And what is this infatuation with the poem itself? I no longer write individual poems, I write sequences of linked poems, a set of poetic narratives, if you need to find a label for what I am trying to do. Cervantes once wrote “La épica también puede escribirse en prosa.” / Epic poetry can also be written in prose. What happens if we reverse that statement and say – “A narrative sequence can also be written in poetry.” Interesting, eh?

And what is this desire to leave something, some trace of us, behind? I cannot answer that question. The answer will vary for each one of us, and for each fall wall flower perishing against the garden wall. I look at the homeless, pushing their grocery carts, head down. Their existence is as important as mine. Their desire to survive, for another day, another week, another season – and winter is coming one – is more powerful than any poet’s desire to leave a work – a magnum opus – to celebrate their lives.

And yes, my words are mortal, as I am mortal, as Miguel de Cervantes and all the great writers were mortal. Patrick Lane once told me that if poets leave one poem behind them that is remembered, they have done well. Even the greatest poets, and you can check this in the anthologies over the ages, rarely leave more than ten or a dozen memorable poems. As for me, I am happy to say that I have never had a poem included in an anthology. Not to my knowledge anyway.

And what does Magnum Opus actually mean? I leave you with the quote from Wikipedia set out above. Click on it, and find yet another way to distract, deflect, and change the direction of our lives! Given that road, who would ever want to walk it to its end?

Carved in Stone 4 & 5

Carved in Stone 4 & 5

4

Maiden Castle –
Rome’s victorious Legions
sought out the main gates,
broke them down,
and placed their altars
to Mars or Mithras
on the ruins of the pagan temples
they desecrated.

What were they, those Romans,
but pagans themselves?

Their false gods
replaced the fake gods,
worshiped there long before
the legions’ arrival.

5

Later, the Saxon sword-song
superseded them
and the Roman Empire fell,
with a pendulum swing
that led to another set of gods.

How did they know
which was the true god?
Was it the belief in miracles
or the military might
that resolved the issue?

Bonfire night.
The sacred texts go up
in fire and smoke.

Brave is the man
who risks his hand in the fire,
defying the flames
to hold on to his truth.


Commentary:

“Brave is the man who risks his hand in the fire, defying the flames to hold on to his truth.” It appears that the Congregation of the Holy Office, aka the Inquisition, threatened to hold Galileo’s right hand in the fire unless he recanted and denied his scientific observations. Church theory held that the universe was terra-centric – the sun moved round that earth and the earth stood still – while Galileo showed that it was actually heliocentric – the sun stood still and the earth moved around it. Old and sick, he recanted in public, but was heard to mutter eppur si muoveyet it still moves.

Bonfire Night celebrates the discovery of the Gunpowder Plot. Barrels of gunpowder had been placed beneath the Houses of Parliament in Westminster, but they were discovered on November 5, 1605 and removed. Bonfire Night is also called Guy Fawkes Night, Guy Fawkes being one of the key plotters to remove the English Parliament. Leading up to Bonfire Night, young children in the UK place a ragged scarecrow, called a Guy, around the streets begging for “a penny for the Guy”! With these pennies they buy fireworks. Then, on November 5, the Guy is set atop a large bonfire and the fire is lit. This autumn burning is accompanied by fireworks.

Bonfire night also refers to the old medieval book burnings of texts that were anathema to whatever religion or regime was in control. Cervantes refers to them in Don Quixote, I, 6 (1605).

Clepsydra 31 & 32

31

… I become more aware
     of the world
          outside my mother’s womb

I listen to the house’s heartbeat
     the occasional creak
          intruding rarely
               the house inhaling
                    exhaling

 I pay attention
     to my own bodily sounds
          my heart rate slowing
               increasing

now I can hear
     the faint tick-tock
          of a distant clock

a sunray illuminates
     a dust mote
          that dances before my eyes

light without sound
     silent butterfly wings
          seeking celestial light …

32

… did I write
          these words for me
               or did I write them
                    for someone else

does it matter
     when the only thing that counts
          is the beauty released,
               when the butterfly breaks free
                    and takes flight …

Commentary:

“The only thing that counts is the beauty released when the butterfly takes flight.” Sounds beautiful, doesn’t it? Just like the old poetic adage “beauty is truth and truth beauty.” But is it true? There are some very ugly truths and it is very hard to beautify them, even though we do our best to do so. I have always hated simplicities like “lipstick on a pig” or “silk purse out of sow’s ear”. And then there’s ‘a rose by any other name would smell as sweet.’ Probably true. Yet an ugly truth is still an ugly truth however much the spin doctors try to spin it.

And for whom does a poet (he in this case, the poet being me) write his poetry? Did I write those words for me, or for someone else? Good question. I certainly wrote them in the hopes that someone, somewhere, perhaps you, whoever you are, might read them. But I don’t know you, can’t know you, how could I know you? But if I don’t know you, how could I write for you? Did Cervantes write the Quixote for himself, or for his readers? And who were his readers, did he know them? He certainly didn’t know me, because he passed away on April 23, 1616, same date as William Shakespeare and the Inca Garcilasso de la Vega. The same date, you notice, but not the same day! Puzzle that one out, if you will. Meanwhile, he died 328 years, give or take a month or two, before I was born, so I don’t think he had me in mind as he penned his words, much as I didn’t have you (specifically) in mind, as I penned mine.

Carpe diem – seize the day. Don’t wase it on such idle philosophical speculations. Speculation / peculation – go buy yourself a lottery ticket – you may even win the jackpot. Of course, if you wish, you can be like me. I never buy lottery tickets and that would put money in my pocket every week (think of it as winnings!) except I never take it out. And remember – “Keep your water weak and your cider strong, keep your hands in your pockets and you won’t go wrong.”

What are you doing this evening?

Daily writing prompt
What are you doing this evening?

What are you doing this evening?

This evening, I am thinking about how September is the month in which academics, thinkers, and philosophers, as well as everyday people, can be reborn. I wrote this article 25 years ago. Re-reading it now, I am amazed by its clairvoyance. Here are my thoughts from way back then.

“September Renaissance: The Annual Adventure of (Re)Creating the Individual.”

This address was delivered to faculty at MOUNT ALLISON UNIVERSITY on 07 September 1999. It is a revision (and an extension) of the adress I delivered to students at St. Thomas University during the inaugural speech delivered to the incoming class of students by the winner of the St. Thomas University Excellence in Teaching Award.

Tomorrow, 08 September, 1999, is a very special day for me, and I would like to share my Special Day with all of you.

“A Special Day?” you think. “It must be his birthday.”

But no, it’s not my birthday. Could it be my Saint’s Day then? If we were in class, and you were all students, I would see some puzzled faces. A hand would be raised: “Please Dr. Moore, what’s a Saint’s Day?”

I would smile at the student brave enough to ask that question. “Good question!” I would say. “When one person asks a question, class, there are twenty people in the room, perhaps more, who wanted to ask that question, but did not raise their hands because they were afraid to do so. Never be afraid to ask questions. Question everything. Question everyone. Ask questions all the time. That, in part, is what you are here for: to ask questions and to learn to ask the right questions.”

So: what is a Saint’s Day? Well, in Spain, people often have two celebrations a year: their birth day and their Saint’s Day. Their birthday is, of course, the day they are born; their Saint’s Day is the Feast Day of the Saint after whom they are named. That was a good question, class, and you have gained a little knowledge! But No! It is not my Saint’s Day.

Why is today such a special occasion for me? Again, if this were a classroom I might, at this stage, do one of several things:

  • I might divide you into groups and ask you to discuss the question;
  • I might turn on a video;
  • I might access the classroom computer and show you a multi-media presentation;
  • I might give you a lecture or a talk or a question and answer session, much as I am now doing;
  • I might send you to the library to find out the answer for yourselves;
  • I might send you to the computer room to surf the net in search of an answer;
  • I might ask you to work together on an interactive listserve and let others help you access the information;
  • I might send you home early with reading material for the next class;
  • I might send you home to watch a specific television program;
  • I might set you the question as a Problem Based Learning Group Research Project (written answers on my desk, tomorrow, by 3:15 pm!);
  • I might ask you to write your essay in a journal page or in a researched essay (due in six weeks time, with annotated bibliography!);
  • I might ask you to tap in to your subconscious and freewrite around the question for fifteen minutes;
  • I might tell you to do some thinking and asking around, because that specific question will be on the final examination;
  • I might ask you to design a poster or your own multi-media presentation demonstrating the meaning of the question and several possible answers …


… Clearly, there is no right or wrong approach and there are many ways of dealing with what is, on the surface, a relatively simple question. You are using many of these approaches in your own classes here at Mount Allison University and I do not presume to tell you that one way is right and another wrong. So much depends on the shifting relationships between teacher, learner, class size, class maturity, work capacity, research resources, and subject matter. At Mount Allison you have a national reputation for the excellence of your students and of your faculty. You have proved over a long period of time your ability to distinguish between the more important questions and the correct research and investigation procedures; above all, you know how to choose those that are most suitable to you and to your own students.

Since this is NOT a classroom, since you are not my students, and since I would have great difficulty in dividing you up into small groups so that you could discuss why tomorrow is such an important day for me, I will provide you with the required answer: TOMORROW, September 8, 1999, is my RE-BIRTH-Day! Tomorrow, I celebrate the day of my RE-BIRTH. Thirty-three years ago tomorrow, I was RE-BORN.

Permit me to share with you the matter of my RE-BIRTH!

It came about like this: On September 8, 1966, I got up at 4:00 am, ate a light breakfast, packed my suitcases into my father’s car, and headed for Heathrow Airport, London. There I boarded BOAC Flight 1040 and at 3:00 pm that afternoon I landed in Toronto, Ontario, Canada. By 3:15 pm, I was passing through Canadian Customs and Immigration and by 3:30 pm, I was RE-BORN as a Canadian.

This RE-BIRTH was not an easy process. It took me a long time to learn to act, think, and speak like a Canadian. It also took me a long time to realize that while the Canadian within me was growing stronger every day, other parts of me, even when they were rigorously maintained, were beginning to die. Thus, at the same time as I celebrate my RE-BIRTH as a Canadian, I mourn the gradual passing away of my Welshness, the slow disappearance of my Welsh family, the fading of my Welsh friends, some of whom I have not seen in more than thirty years.

Yes! I was RE-BORN 33 years ago tomorrow. But this is not the only RE-BIRTH that I have undertaken. There have been many other rebirths:

  • 28 years ago, I emigrated from Ontario and was RE-BORN as a New Brunswicker;
  • 27 years ago, I left the University of New Brunswick and was RE-BORN as a St. Thomas University professor;
  • 24 years ago, I was RE-BORN when I graduated with my PhD and was officially no longer a student;
  • 5 years ago, when I visited the Dominican Republic, I was RE-BORN as a conscious critic of certain neo-colonial policies and attitudes towards Developing Countries; in the DR, incidentally, I was also held up at gun-point — and surviving THAT little incident certainly guaranteed an instant RE-BIRTH which I celebrated in the closest bar!
  • 4 years ago, in December 1995, I was RE-BORN as a pseudo Professor of Education when I visited Oaxaca, Mexico, as part of what was later to be called the St. Thomas University – University of New Brunswick – Universidad Autónoma Benito Juárez de Oaxaca Faculty Exchange Program;
  • And tomorrow, on September 8, 1999, as I celebrate the 33rd anniversary of my being RE-BORN as a Canadian, I am in fact in the process of being RE-BORN yet again.


I will explain how in a moment. Meanwhile let me say that along with the pain and struggle for RE-BIRTH come various things:

  • PRIDE: in the fact that I, along with everyone else in this room, can achieve RE-BIRTH;
  • HUMILITY: in the knowledge of how fortunate I am, together with all of you gathered here in this room today, to be counted among those who are still capable of RECREATING their lives and of being RE-BORN;
  • RESPONSIBILITY: in the knowledge that when we are RE-BORN a new set of duties falls upon our shoulders;
  • ENERGY AND ENTHUSIASM: in the knowledge that I, like every one of you, am capable of sharing the secret of my RE-BIRTH with the students who come to my office and my class almost every day in search of the new selves which they wish to create for themselves.


This summer, to prepare myself for this Fall’s RE-BIRTH, I did the following:

• I revised all my courses;
• I attended the University of New Brunswick Multi-Media Institute for three weeks and completed my Certificate of Multi-Media Studies;
• I reconstructed, with the aid of Clare (without whom I would not be here today, but perhaps I’ll tell you more about that later), my web page;
• I (re)commenced my annual summer reading program to update my thinking.

I say all this to assure you that I know as well as you do that knowledge is not a solitary, self-contained unit which, once attained, stays with us forever. Knowledge is an ongoing process; learning is a lifetime commitment; you, as faculty, teach at Mount Allison University, as I teach at St. Thomas University, not just to earn a salary, but to continue a life-long commitment to teaching and learning. If you are like me, you love the sheer process of teaching and learning; you love the contact with young, developing minds.

I try always, as I am sure you do, to encourage my students to start their life studies with us at St. Thomas and to continue their life studies when they leave university. We do not say “Learn for four years and then you can stop learning for you will have all the knowledge you will need for the rest of your lives.” At least, I hope we don’t.

And it is the same thing for us, as faculty. For we, as faculty, are actively involved in our own ongoing research and scholarship, some of which we publish and some of which we use in our classes; research moreover, without which the knowledge we share with our students would be a dead package, taken from our notes, and handed over without thought or revision, or consideration, to the next generation, much as certain forms of knowledge were handed to me when I was an undergraduate by some of the teachers de cuyos nombres no quiero acordarme / by teachers whose names I do not wish to recall, to borrow the famous words with which Cervantes opened perhaps the world’s greatest novel: Don Quijote de la Mancha.


So what did I read this summer?

Amongst other things, I read about the RENAISSANCE — the RE-BIRTH of Western Civilization in the 15th and 16th Centuries; I also read about the REFORMATION that came about as a direct result of the challenges and questions posed by the RENAISSANCE; and I read about the COUNTER-REFORMATION that sprang up as a reaction to and dialogue with that first REFORMATION.

I also realized, not for the first time, the similarities between our own age and that of the RENAISSANCE. The RENAISSANCE, as Marshall MacLuhan pointed out in The Gutenberg Galaxy, was a time of new ideas and new technology; in addition, a radical change occurred in the paradigm of man’s learning and thinking. The known world was expanding with the voyages of discovery that set out to East and to West. Man’s view of the universe changed with the various discoveries in optics that allowed us to see objects in space larger and in more detail than ever before. This led, of course, to the concept of the heliocentric universe, where human beings were displaced, away from the centre of creation; a new concept for the Church, and one that they fought against bitterly at the time.

In the same period the printing press had an enormous influence on the dissemination of knowledge, and totally changed peoples’ ways of disseminating, creating, receiving and perceiving written information. It is very difficult for us to understand, even today — perhaps especially today — the impact of the printed word on a semi-literate society in which, again according to Cervantes, groups of people would gather in the evenings to have books read out loud to them by the one or two people in the village who could read. Walter Ong has described this process to us in Orality and Literacy, another book which I (re)read this summer. Suffice to say, that for us, as a television generation, it is difficult to understand the initial impact of radio upon our parents and grandparents. For the new generations of students emerging today, it is difficult to imagine life without the instant communication of television, telephone, email, and computer.

In many ways, the impact of print must have been similar to the impact of the electronic technological revolution which we are going through today. And one thing I know for certain, after completing my Certificate in MultiMedia Studies: none of us are aware, nor will we be fully aware for a long time yet, of the full impact of the electronic technological revolution upon the hearts, souls, intelligence, and minds (not to speak of the wrists and eyes) of those who use it and of those who are now growing up, many of whom know no other way of accessing information.

The paradigm of knowledge and technical skill is still changing and developing explosively; as a result, we are still unaware of exactly what can be achieved by the new media. Take computer chess, for example. Chessmaster 2000 had approximately 150 games programmed into its chess library; Chessmaster 4000 not only has 1500 games programmed in, but also presents us with games in which Karpov commentates in digital audio his own moves in his own matches!

Yet, in spite of this tremendous rate of progress, few of us who follow Chess would have dreamed that Deep Blue, programmed by a gentleman from Clare’s home town of Bournemouth, would thrash Karpov, the world chess champion from the Soviet Union, only a year or two down the road. Nor can we understand the extremely rapid progress that leads us in a matter of months, to see the memory banks in a pc clone expand from 1 gig of memory to 4 gigs of memory, to 6 gigs of memory, to the 10.6 gigs of memory that Dell is advertising in its latest computer sales. In some ways, it is like the 10, or 12, or 14 zeros that are now following the initial figures in the MEXICAN FOBAPROA SCANDAL: so many zeros that the concept of the magnitude of the debt is beyond the understanding of most of us.

In our day, then, as in the Renaissance, the paradigm of knowledge is expanding explosively. Knowledge in the Renaissance evolved so quickly that few individuals were capable of grasping the full meaning of the REVOLUTION, the RENAISSANCE, the REBIRTH which they were observing and in which they were involved. In fact, the RENAISSANCE BATTLE OF THE BOOKS or the continuing discussions between the ANCIENTS AND MODERNS were very similar in many regards to some of the discussions regarding the FUTURE OF EDUCATION that we are holding in all the Atlantic Provinces Universities right now. Authority or Innovation? The old ways or the new? Technology or Tradition? Whatever side we come down upon, these discussions are good for us all for they mean we are alive and thinking and that our knowledge is not a dead but a living thing.

This summer, I also (re)read Mikhail Bakhtin; I believe with him, that human beings can live in a DIALOGISTIC RELATIONSHIP WITH THEIR CHRONOTOPOS — that is to say, in less Bakhtinian language, that people can hold a dialogue with their time and their space, a dialogue which can bring about change, new directions, new commitments, in short, a RE-BIRTH.

And now, from Dialogue to Drama: Wayne C. Booth, in Freedom and the Individual (the Oxford University Amnesty International Lectures of 1992) wrote that we are all individuals, writing the drama of our own lives; each student’s entrance to Mount Allison University, in Wayne Boothian Theory, is a chance for that student to begin his or her play again; all students can rewrite their roles and their characters; as we can rewrite our lives and our roles. In short, each one of you can, like me, be RE-BORN. And believe me: September is the month in which this ANNUAL REBIRTH can and should take place.

I also read several books on the THEORY OF TIME: sidereal time, atomic time, linear time, instantaneous or contemporaneous time … many of the courses I teach at St. Thomas University are based on linear time: each term, they progress steadily from Day 1 to Day 36; however, our lives as teachers and learners are also based on seasonal or cyclical time. For teacher and student, the learning and teaching cycle begins anew every September; this is the time of the SEPTEMBER RENAISSANCE or RE-BIRTH. September then is the month for us ALL to be RE-BORN.

In some ways, the most important books I read this summer were all written on or about don Francisco de Quevedo. These books no longer have a single author. We are no longer dealing with one person’s ideas. Thus, although Pablo Jauraldo Pou’s name adorns the edition of the latest and best biography of don Francisco de Quevedo, Quevedo’s life has actually been researched by an extensive team of scholars, students, and friends, so large, that only the most important dozen or so can be acknowledged. The same is true of James O. Crosby’s edition of the Sueños, or of Ignacio Arellano and Lia Schwartz Lerner’s edition of the metaphysical poetry, or of Crosby and Jauralde’s edition of Quevedo y su familia en setecientos documentos notoriales, a compendium of legal documents concerning the Quevedo family which runs from 1572 to 1724.

In fact, when a single author, not a member of a team, writes on Quevedo nowadays, it is to offer a study of just a small portion of the author’s work. In this fashion, Josette Riandière de la Roche’s Nouveaux documents quévédiens: Une famille à Madrid au temps de Philippe II deals with a very short time period and only a selected aspect of the life of the poet. In similar fashion, Santiago Fernández Mosquera’s La poesía amorosa de Quevedo: disposición y estilo desde CANTA SOLA A LISI deals with only one aspect of Quevedo’s poetry, that of the love poems seen in the light of the sonnet sequence to Lisi.

TEAMWORK: it is becoming more and more necessary to work as a member of a team in order to keep up with the knowledge explosion with which we are confronted. I once said, tongue in cheek, that a TIER 2 CIDA GRANT APPLICATION demands the construction of a team. You need

  • a reader who specializes in how to read the AUCC / CIDA guidelines as they change from year to year;
  • an interpreter who specializes in what the current buzzwords are in government circles actually mean and how to use them in your documents;
  • an accountant who specializes in cash flow, international money transfer, and book balancing;
  • a manager who specializes in Results Based Management or whatever form of management system is the current government buzz word;
  • this manager must also have organizational skills to link the various parts of the application to the Results Based Management that is currently demanded by AUCC/CIDA.

Further, the manager must have people skills in order to hold the team together when things are going badly or well, for triumph and disaster, as we well know although both impostors are ever present when applying for Grants from Government Sources; you also need

  • a writer who specializes in writing up the final text so that it will convince the granting authorities that you, the applicant, another often forgotten member of the team, actually knows what you are doing;
  • finally you need what I call a people person or a wheeler – dealer who will get out there and make the appropriate contacts and find out who are the current movers and shakers and who will actually give you the internal promotion that your CIDA GRANT needs if the application is to be successful.

I would also suggest, perhaps not totally tongue in cheek, that a similar team approach to the writing of SSHRCC GRANTS FOR THE HUMANITIES would not be a bad idea.

TEAMWORK: As I said earlier, I completed my Certificate in MultiMedia Studies at the University of New Brunswick this summer. One of the things that I learned was the importance of teamwork in computing.

In our first SCENARIO FOR A CASE STUDY this summer, for example, we were required to design and build a commercial web site. Of course one person can build a website, and a pretty good one at that. But the studio team which we were given consisted of

  • a graphic artist,
  • a sound engineer,
  • a creative director,
  • a computer tech,
  • a multimedia specialist,
  • a photographer,
  • a specialist in digital photography,
  • a graphics designer, and
  • a colour specialist.

We did not have digital video capacity and were forced to contract digital video out. Costing was also a major part of the exercise: how many people, how many tasks, what order for the tasks, how many hours, how much time, how much money! I repeat: the new paradigms of knowledge that are developing around us will be demanding more and more teamwork from us.

I will end this brief presentation by reminding you that this fall, on Saturday October the Sixteenth, 1999, to be precise, the Atlantic Teaching Showcase will be coming to St. Thomas University, Fredericton. I hope to see some of you in St. Thomas, at that meeting. I am, as many of you know, the Chair of the Atlantic Association of Universities Teaching Showcase for this year.

However, I have not arranged the Showcase on my own. On the contrary: I have gathered a team of faculty and together we are working towards the Teaching Showcase. In fact, I have one person looking after finances, another looking after registration, another building a website, another looking after catering, another looking after audio visual equipment, another booking rooms, another organizing the program, another recruiting and organizing student help. We have planned and arranged the program between about eight of us.

An exercise in teamwork, no less.

I know that in all that I have said so far today, here at Mount Allison University, I am talking to people who know as much as I do, or more, about all these things: REBIRTH, RENAISSANCE, TEAM WORK, COLLABORATION. For a very long time, I have been impressed by the quality of Mount Allison’s teachers and by the quality of Mount Allison’s students.

In five weeks’ time, at the Atlantic Association of Universities Teaching Showcase, there will be a session entitled “WORKING TOGETHER: MODELS OF COLLABORATION INSIDE AND OUTSIDE THE CLASSROOM.” This particular session is a perfect example of the type of teamwork I have been talking about today. The session was presented to me in its entirety as a proposal for a single session incorporating 4 papers and some interactive discussion. The session will have a 90 minute slot and I very much hope to be present for what promises to be an exciting time. The session currently consists of a series of four papers, as follows:

  • “Mixing media: High Theory, Low Culture (or Inviting Popular Culture into the Classroom”;
  • “Collaborating with Students: Sharing Power over Syllabus Design”;
  • “Interdisciplinary Collaborative Project: A Model”;
  • “Beyond Discipline: Facilitating Collaborative Student Research”.

The session organizers are all associated with Mount Allison University and I would like to congratulate Professors Pat Saunders-Evans, Deborah Wills, Robert Lapp, Jeff and Ausra Burns on the hard work they have put in to an excellent integrated proposal.

Imitation, they say, is the best form of flattery. I have stood here today and spoken to you and you have kindly listened to my words. Tomorrow, I will spend part of my RE-BIRTH-DAY with you, here at Mount Allison. I have been invited to attend your Learning and Teaching Development Workshops, and I hope to take back to St. Thomas University some of the excellent ideas on which you are working here on campus. You are nationally and internationally recognized leaders in your field. Tomorrow, it will be my turn to listen to, and learn from, you!

Thank you for inviting me here.
And thank you for listening.

Windmills

Windmills

Only the pendulum clock
disturbs the silence
as the slow stars circle
and the moon hides
its face beneath
seven excluding veils.

Tranquility finds me,
seated here, head in hands,
contemplating the complicated
dance steps of a terra-centric
universe where planets weave
an intricate back and forth
to justify the falsehoods
of misguided mistakes.

Men, confident in their wisdom,
know that all is well,
that their faith in the old gods,
the old books, the words
that were written, in stone,
before the modern world began,
need no rethinking.

Those whirling sails,
imprinted on the questing mind,
are a giant’s arms, those sheep
an enemy army cloaked
in dust, coats of arms visible
only to the far-sighted
whose eyes defy vision’s laws.

Right, they were then.
Right they are now.
Nothing changes. Nothing
can possibly change.
Sheep are the enemy
and windmills wait to invade
the unsuspecting mind.

Comment: The history of Don Quixote and its reception in Spain is quite interesting. I was very sorry to read that Cervantes’s language is now considered so antiquated that interpreters are needed. I actually have a cartoon version of his quests – a picture reader, so to speak, very brief, because each picture is worth a thousand words. I have not yet seen the simplified text, rewritten with today’s reader in mind.

Don Quixote still holds many lessons for this modern world of ours and is definitely worth re-reading for, as Soren Kierkegaard (1813-1555) wrote: “There are two ways to be fooled. One is to believe what isn’t true; the other is to refuse to believe what is true.” Don Quixote, the character, threads a narrow path between those two extremes, as do many of the other supporting characters, some of whom use metatheatre for their smoke and mirror Wizard of Oz trickery. And remember, or forget at your peril, nihil sub sōle novum – there is nothing new under the sun. And yes, history does repeat itself, as you will see if you read (or re-read) Cervantes’s master piece.

How would you describe yourself to someone who can’t see you?

Daily writing prompt
How would you describe yourself to someone who can’t see you?

How would you describe yourself to someone who can’t see you?

Well, that would depend on why they couldn’t see me. “Those who have eyes, but cannot see.” Many have stood beside or before me, looked into my eyes, as I looked into theirs, and never saw me. “The most difficult role in the play is that of the fool,” said Don Quixote, “for he who would play the fool must never be one. So many people saw me deliberately playing the role of the fool and forgot the above quote. They also forgot what Antonio Machado wrote: “The eye you see is not an eye because you see it, it is an eye because it sees you.” And there you have it: why would I bother describing myself to people of that ilk, so stupid and blind with their own limited wisdom, that they couldn’t see me anyway.

Keenan’s Well, by Seamus Heaney, is a wonderful poem. It tells us about Rosie Keenan, his blind from birth neighbor, who played the piano and sang all day. She let them touch her books, like books of wallpaper, and feel the letters of braille by means of which she was able to read. They allowed her to touch their faces with her oh-so-sensitive fingers, and she said she saw them, as well as knowing them by their voices. When he read her a poem about Keenan’s well, she told him that she, blind from birth, ‘could see the sun shining at the bottom of it now.”

How would you describe yourself to someone who can’t see you? I wouldn’t waste my time and energy trying to do so.

A book is a book is a book

A book is a book is a book

“If one cannot enjoy reading a book over and over again, there is no use in reading it at all.” Oscar Wilde

A good friend of mine once told me that her creative writing writing prof in the MFA program told the class: “We are not writers. We are re-writers.” Our mission in life, then, is not just to rewrite, but to think and to revise. The art of writing lies in analysis, research, thought, and thinking carefully about (a) what we are about to write and (b) what we have just written. As a great Spanish writer once said “I write as I speak and when writing I count my syllables.”

So can the same principle be applied to reading? In my undergraduate poetry courses, one of my wiser profs announced that “It is better to read one poem a hundred times, than a hundred poems once.” Is re-reading better than reading? Good question. But it is what I call a swimming pool question: it has shallow ends and deep ends. Joke – it depends, you see, upon the quality of the material one is reading. For example, does a single reading of the Bible suffice? I read it through, page by page, when I was twelve years old. Was that it? No, I still return to it – the good book – from time to time, selecting, remembering, checking, looking for comfort, advice, or sometimes, pure joy in the sound of the language – King James version, of course.

What other books have I read and re-read? Lazarillo de Tormes, Don Quixote, The Hobbit, The Lord of the Rings, The first book in the Harry Potter series – it reminded me of elements of my own childhood, especially the cupboard under the stairs. Been there, done that, got the tee shirt. The Wind in the Willows, Gongora’s Polifemo, Quevedo’s Metaphysical Poems and his Cycle to Lisi. Octavio Paz’s Sunstone / Piedra de Sol, Lorca’s Romancero Gitano, his Poet in New York, and his plays. Platero y yo. Charlotte’s Web. Several of Shakespeare’s plays, including McBeth, Henry V, King Lear, and a couple more. Rudyard Kipling’s Kim and Stalky and Co. Mary Gentle’s Golden Witchbreed. Robert Bly’s Morning Poems, Iron John, The Sibling Society. Unamuno’s The Tragic Sense of Life and his Niebla. Enough, no more. It is not as sweet now as it was before. And there are so many more to which I have returned, again and again.

So, think about all the time wasted on trivial books, books that remained unfinished, books that have never been opened. One person’s vegetarian or vegan’s fare is a carnivore’s poison [sick]. Sometimes a book mirrors our thoughts. Sometimes it challenges us to rethink our lives and our philosophies. Sometimes it comforts us or takes us back into our childhood. And sometimes it just bores us and we cannot finish it.

A rose is a rose is a rose. A book is a book is a book. Or is it? We are not readers – we are re-readers. And if we aren’t, we ought to be. Think about that. Carefully.

Poetry or Prose?

Poetry or Prose?
Wednesday Workshop
22 September 2021
Patos de setiembre.

When I write, I do not distinguish between poetry or prose. More often than not I think in terms of the rhythm and musicality of the words I am using, if the words sound right, when read out loud, they probably are. Here is a prose poem, Cage of Flame. It is written in prose, but it’s meaning is dependent on imagery, metaphors, associative fields, and musicality. Read it as you would any piece of prose, in sentences, following the guidance of the grammar. Read it two or three times quietly to yourself then, when you have grasped the poem’s rhythms, try reading it out loud. If you want to know how I would read this poem, check my recorded readings on my blog, Spotify or SoundCloud.

Cage of Flame

Now you are a river flowing silver beneath the moon. High tide in the salt marsh: your body fills with shadow and light. I dip my hands in dappled water. Twin gulls, they float down stream, then perch on an ice-floe of half-remembered dreams. Eagle with a broken wing, why am I trapped in this cage of flame? When I turn my feathers to the sun, my back is striped with the black and white of a convict’s bars. Awake, I lie anchored by what pale visions fluttering on the horizon? White moths wing their snow storm through the night. A feathered shadow ghosts fingers towards my face. Butterflies stutter against a shuttered window. A candle flickers in the darkness and maps in runes the ruins of my heart. Eye of the peacock, can you touch what I see when my eyelids close for the night? Last night, the black rock of the midnight sun rolled up the sky. The planet quivered beneath my body as I felt each footfall of a transient god.

Clearly the above is prose because it has no line breaks. But what happens when we break that prose into shorter lines and turn it into a poem?

Cage of Flame

Now you are a river flowing
silver beneath the moon.
High tide in the salt marsh:
your body fills with shadow and light.
I dip my hands in dappled water.

Eagle with a broken wing,
why am I trapped in this cage of flame?
When I turn my feathers to the sun,
my back is striped with the black
and white of a convict’s bars.

Awake,
I lie anchored by what pale visions
fluttering on the horizon?
White moths wing their snow
storm through the night.
A feathered shadow ghosts
fingers towards my face.
Butterflies stutter against
a shuttered window.
A candle flickers in the darkness
and maps in runes the ruins of my heart.

Eye of the peacock,
can you touch what I see
when my eyelids close for the night?
The black rock of the midnight sun
rolled up the sky.

Last night, the planet quivered
beneath my body and I felt
each footfall of a transient god.

            It seems to be the same text, but is it? And what happens if we change those line breaks? It will change the external structure of prose > to poem > to new poem, but it will not alter the internal structures that survive all format changes. Does the rhythm stay the same in both cases? It certainly does when I read it, but how about you? Poetry or prose? And what’s the difference anyway if the words roll off your tongue and metaphors, mystery, and magic rule?

Comment:
Clearly poetry and prose are not interchangeable, for they both fulfill different functions. The classical difference is often said to lie between history, what actually happened, and poetry, the formal arrangements of words in song. This seemingly simple definition becomes blurred, of course, when history, written in prose, is confused with epic, the retelling of history in poetic form. Prose fiction is a much later development and it is Miguel de Cervantes who gives us, in Don Quixote, his own Renaissance solution: “La épica también puede escribire en prosa” / the epic can also be written in prose. The mingling of poetry and prose underlines the use of rhetorical tropes in writing. Later, Baudelaire will offer us us his Petits poèmes en prose thus gifting the world with prose poems. Much of what I write is prose poetry or poetry in prose. Rhythm, metaphor, allusions, alliteration, similes, intertextuality all combine to decorate my writing. And yes, I am very clear about what I am trying to do.

International Book Day

23 April 1616 > 23 April 2021
International Book Day.

Today we celebrate the anniversary of the deaths of three great writers: el Inca Garcilasso de la Vega (Comentarios Reales, Peru), William Shakespeare (poetry and plays, England), and Miguel de Cervantes (Don Quixote and so much more, Spain).

Our hibiscus decided to issue its first official blossom of the year, just to help us all celebrate this day.

CV-19 Week 3 Day 2

IMG_1053 (2)

CV-19 Week 3 Day 2
Reading in Multiples

Legend tells us that Francisco de Quevedo possessed a revolving book stand-cum-lectern. He placed this on his table at meal times and he would have four books open at the same time, moving rapidly in his reading from one to another. I have always liked this idea. As a result, I am now doing something similar.

I began by taking out Don Quixote, which I am once again reading in Spanish. The adventures of our Ingenious Gentleman are a delight and this time, the slowness of my 28th reading of the 1605 text allows me to taste every word, to roll the syllables round the tongue, and to savor every word. With CV-19 on the loose, there are no deadlines, no use by dates, and nothing to prevent me from delaying the full enjoyment of each word of the text. Equally important, there is no class preparation, no waiting audience, just me, an old man now, following the thoughts and adventures of an old man as written by an old man, Miguel de Cervantes, way back when.

I have the Collected Poems of Phillip Larkin on the table beside me. What a different world. What depth of insight and observation. What a bearing of witness to the follies and foibles of an England that I left behind so long ago, much of it vanished now, along with the old choir stalls and the hedgerows, the cuckoos and the skylarks. I read and re-read The Old Fools and realize just how close I am to that cliff edge, that precipice, that Alpine peak, beneath which I shelter and seek succour. Then I turn to This be the Verse and I start to laugh at this portrayal of middle-class parental pretensions. This is Larkin’s open wit, but his sly wit, like that of Cervantes, but more bitter, creeps up on you and catches you unawares, unless you know how and where to look for it.

At my left elbow, Juan Ramón Jiménez’s Platero y yo awaits my attention. No children’s book this, but a wonderfully poetic recounting of a poet’s observations of Moguer, a small seaside town in Andalusia. This too is a book to read slowly, to savour, to taste each word, each story. This too is prose poetry at its best. Cervantes wrote that ‘epic poetry can be written in prose’ / la épica también puede escribirse en prosa‘. JRJ might equally well have written that ‘poetry can also be written in prose’ … an edict that I have tried to follow in my own writing.

For my more serious reading, I am dipping into the late Roger Scruton’s A Short History of Modern Philosophy (from Descartes to Wittgenstein). This is heavier reading, in some senses, yet the parallels between Descartes philosophical observations and Cervantes’s literary ones are well worth considering, for Cervantes often offers the practical where Descartes puts forward the theoretical.

I will be adding more titles to my reading as I progress. Needless to say, I am also wandering through the labyrinth of my own earlier writings, and they are so much fun to revisit too. I will add more on this topic, as our enforced enclosure progresses.

Comment: These visitors came to my garden last summer. It is a delight to offer my photographs of them as a counter to CV-19 for these butterflies symbolize the brevity and the beauty of our lives. Butterflies on a rock: poetry and literature in Canada, and even more fragile in these times of utmost fragility. Keep well, keep safe, and keep in touch with your loved ones by telephone, Skype, Messenger, e-mail, and keep everything safe.