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Let us look at another image of the "things of this world, " circa 1956, this one not from a poem but from Robert Frank's book of photographs called The Americans, published by Grove Press in 1959, with a preface by Jack Kerouac. The reason we get up every morning and go about our day according to Wilbur is love. This is set during the period between true consciousness and the dream world. Unlike its models--Whitman's "Song of Myself" and "I Hear America Singing, " Blaise Cendrars's "Easter in New York, " "Apollinaire's "Zone, " Mayakovsky's "Cloud in Trousers"--poems where personal vision goes hand in hand with serious social critique --here putting one's "queer shoulder to the wheel" is not likely to lead to anything. But if I generalize their belief in God as a belief in the goodness of love despite the world's daily horrors, then Lord knows I do. Ashbery's lyric mode in this, the very first of the texts in his Selected Poems (a mode, incidentally, that has not changed significantly over the years) has enormous implications for the poetry of our own time, although it is only fair to say that in the nineties, as in the fifties, the dominant poetic paradigm is not unlike the Wilbur model (or module), with its drive toward profundity, its desire to "say something" about body and soul, love and war. The beautiful things of this world kept me far from you and yet, if they had not been in you, they would have no being at all. The conflict is between a soul-state and an earth-state. 3) What interests me here is the pronoun "one. " No offense, but the poem carries a vitality the poet sort of lacks when he reads. Humor is everywhere in the diction: "spirited" means "carried away mysteriously or secretly"; but this time the agents are actually spirits, the angels in the laundry; "awash, " itself a pun, is followed by the "calm swells" of line 9 and by the "white water" of line 14.
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He structures his poem into multiple stanzas with two lines each. Thus the personal becomes the political. But of course the awakening poet might not notice this because the laundry is certainly not his concern; the poet, after all, is represented as having been asleep when it was hung out to dry. In a career that spanned 650 poems, enriched by her sensitivity to sound and sensual imagery, numerous critical works, and a massive biography on John Keats (1925), Lowell undeniably altered the literary landscape of her time. "Blow, " for O'Hara, always has sexual connotations, but "blow up, " soon to be the title of Antonioni's great film, also points to the vocabulary of nuclear crisis omnipresent in the public discourse of these years. But three lines after the word rapt comes the word rape. At the same time--and this is an interesting spin on the culture industry--the U. novel (as well as a fair amount of the poetry, from Leonie Adams, Elizabeth Bishop, and Louise Bogan, to Babette Deutsch, Carolyn Kizer, Elizabeth Spencer, and Ruth Stone) was largely the domain of women. Polls gave his performance a 75% approval rating, and no wonder: as Newsweek records, jobs were up from 61. • The poem begins from the perspective of someone waking up in an apartment to the sound of laundry coming off the line. During the most ordinary of days. The gaiety of the play heightens the reverence; it does not profane the ceremony. And, although I haven't done a count, reviewers in the mainstream journals and little magazines were more likely to be women in 1956 than in 1996: Bishop, Miles, and Kizer reviewed frequently for The New Republic, McCarthy, Vivienne Koch, Mary O. Hivnor, and Margaret Avison for the Kenyon Review, Dorothy Van Ghent and Marie Boroff for the Yale Review, and so on. In this way, Wilbur is comparing the agony of sleeplessness to the constant battle between the headland and the wind. In this short stanza, the narrator discusses the complexity of love.
In "Memories of West Street and Lepke, " which appears just a few pages before "Skunk Hour" in Life Studies (1959), Lowell refers to the decade as the "tranquillized fifties. " The poem... is a conflict with disorder, not a message from one person to another. " What, then, is the poem all about? If he was content with life instead of altering the original in such a drastic way he may have rewrote or revised the poem to fit his own everyday life. The poem is at once perfect seriousness and festivity, its language-founded ironies being play much as [historian and medievalist John] Huizinga defines it in its highest state, play as the exuberant celebration of mystery. You can read it in his Collected Poems 1943-2004, available at local bookstores, or you can just listen to him reading it. But I do think that the poem became possible because of Wilbur's earlier meditations on wartime loss and postwar deprivation. I wouldn't argue that "Love Calls Us to the Things of This World" has much of (in Wilbur's phrase) "an implicit political dimension. " "How Old is Prufrock? Prufrock's self-doubt, his self-awareness, and his failures are played out against an ugly urban backdrop, which mocks his romanticism and a social milieu that devalues his sensitivity and erudition. As for Robert Horan's mild disclaimer that the poem is somewhat "fastidious" and "remote, " Wilbur counters, "I've always agreed with Eliot's assertion that poetry 'is not the expression of personality but an escape from personality'" (AO 19). Wilbur answers that with his title—love.
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In the Kenyon and Sewanee, the poet of choice (as Wilbur's "Love Calls Us" confirms) was John Donne (see, for example, the symposium on "English Verse and What It Sounds Like" in the Fall 1956 issue of Kenyon Review, where Seymour Chatman and Arnold Stein and John Crowe Ransom discuss Donne's prosody), the "great" modern poets, Yeats, Frost, and the Eliot of Four Quartets and the verse dramas. I'd better consider my national resources. I won't say the Lord's Prayer. The poet does not remain cast down, for the reality is that this is not just a dream or a daydream in which the loss of a moment of supernal loveliness is truly shattering, even embittering. At the same time, for Ginsberg, as for O'Hara and Ashbery, possibility was consistently threatened by the awareness that there were jobs they, as gay men, could not hold, places they were not wanted, and that the bars they frequented were regularly raided. I read it in the basement of the Berkeley Public Library.
Why do we bother waking up? It was still a time, then, when mainstream publishers brought out "serious" literary works, preferably French or at least foreign (but rarely, in this early postwar period, German). The word morning is symbolic. The latter part of this passage acts as an index to the U. So dig in, and we promise, we won't make you do any laundry. People who apparently enjoy little else in Wilburs work delight in "Love Calls Us" for its gusto and its easy, spontaneous air and I want to look at the careful wordplay in it for precisely this reason.
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The "skunk hour" of Lowell's famous poem, for example, is defined by its allusive relationship to St. John of the Cross's Dark Night of the Soul, and centered by the sign of the "chalk-dry and spar spire / of the Trinitarian Church" that dominates Lowell's Maine village--the emblem, for the poet, of a residual and dessicated Puritanism that could only poison human lives. The picture is at once wholly literal and yet enigmatic: indeed, Frank may not know himself what it is he is shooting. At the same time, the Cold War was just that--cold--which is to say a very distant reality to those who actually lived their everyday life in the New York or San Francisco of the later fifties. Man is thus counseled to seek the spiritual directly, avoiding the "things" of this world which presumably would lessen his capacity to exist on a spiritual plane.
They might say, poet, have your ruddy dream, but give us better detergents" (AO 5). But if, as Wilbur himself explains it, the scene is outside the upper-story window of an apartment building, in front of which "the first laundry of the day is being yanked across the sky, " the reality is that the sheets and shirts would probably be covered with specks of dust, grit, maybe even with a trace or two of bird droppings. In a changed voice as the man yawns. My national resources consist of two joints ot marijuana millions of genitals. But whereas the whites sit facing front in "normal" position, the children and tbe black man and women are turned 90%, facing out of the window, the black woman in back looking over her left shoulder. The photograph makes no overt comment on segregation, the faces of the blacks at the rear of the car, for instance, show no anger. It was a terribly depressing period both in the world and in my life. "The important thing about Wilbur's poem, " writes Eberhart, "is that it celebrates the immanence of spirit in spite of the 'punctual rape of every blessed day. ' The sweet, fresh lovers will be undone. The soul, once loath to accept the new day and what it must remember, now accepts the body, with all its imperfections. The Comedie Française on tour presented Molière's Bourgeois Gentilhomme and Marivaux's Arlequin poli par l'amour. Wilbur uses structure and diction to create a highly refined presentation of the contrast between the spiritual and the physical and of the paradox of man's finding the spiritual through the actualthe theme of the poem. Lowell embraced the imagists' emphasis on clear, unadorned poetry and soon brought her considerable resources to bear upon its wider dissemination.
The first half describes the soul's perception of the surrounding world as it's body first begins to wake up. Wilbur presents an affecting version of the ideal world through his images of angelic laundry, but this world is evanescent, seen only for a moment under the light of false dawn. In his Introduction to Colliers's new series on "The American Tradition, " Henry Steele Commager asked, "What has America meant to mankind? " He can recognize and address the experience of feeling aesthetically cheated by a vision too impossibly-alluring, but what is more, he can responsibly point a way beyond the moments of dislocation and anger. In this context, ironically, the actual death references in the poem ("First / Bunny died... ") function almost as overkill. As a heathen myself, of course, I don't really feel their pain.