Bridge Collapse-part 2

After looking at the comments I received on my first entry about the bridge collapse and after listening tonight to some tapes about Langston Hughes and Wallace Stevens, I finally have something to say about meaning.

I have never been afraid to cross bridges. Of course, it goes through my mind, "What if," every time I'm on a bridge. But then I calm and trust everything will be fine.

For many years, I was trusting. I took people at their word, and I trusted that the people who designed bridges knew what they were doing and had my best interests in mind. The same with leaders, people in authority, like teachers and doctors.

You live and learn. Slowly my trust began to crumble and erode. Now I fight cynicism almost every day. There's plenty to be cynical about, but I don't like feeling that way. It really bothers me. I hate it.

I've built many bridges in this life. I've tried to make meaningful connections the best way I could.

If one of my bridges should collapse, I have others. Hart Crane saw the bridge as Faustian, as a symbol of human intelligence, ability, and power, but bridges aren't forever.

Listening to the lives of poets on my tapes, I was reminded of how poets of that time were influenced by the philosopher William James.

How do we make meaning? What happens when we have the will to believe and nothing to believe in?

There are no large solutions. Truth is momentary.

Bridge Collapse

I have been thinking about the collapse of the bridge in Minneapolis. I recently wrote about the Golden Gate Bridge and have been reading and reviewing Hart Crane's great poem, "The Bridge." Crane's poem heralded the wonders of the bridge. Even so, it was a symbol to him of humankind's Faustian urges. Both of these ideas seem relevant to the time Crane was writing, in the early days of the 20th Century. Now in the early days of the 21st Century we are made to understand that a vast number of bridges in the U.S. are structurally unsound.

If the bridge stood for wonder and Faustian urges nearly a hundred years ago, what does the bridge symbolize today?

Preparing for the Fall

My note taking and letter writing desk. My Walt Whitman Box seems to be right at home.

For the last week or so I've been taking a lot of notes in preparation for teaching the course in Modern Poetry in the Fall. It's a 300-level course, so class periods are going to have to be devoted to considerably more than asking the students, "What do you think this means?" Truthfully, I can't think of an artistic movement more complex or confusing than Modernism, and the last thing I want is for the students to throw their hands up in despair.

Last night I worked on Hart Crane and Wallace Stevens. I still have a lot to sort through regarding Stevens, but I wanted to tackle Ezra Pound this evening. This is the desk where I do my note taking and prepare my lesson plans. I write letters at this desk, as well. Occasionally I grade papers here, too, although in winter I most often do that in a cozy chair beside the wood stove.

Tombs

Over the weekend I received an e-mail from a colleague who had recently given me a copy of story she'd been working on so I could give her some comments on it. This colleague got her Master's in Fine Arts (MFA) in Poetry writing and this was her first story attempt.

In the e-mail, my colleage told me not to bother anymore to read and comment on the story, that she'd shared it with a former professor and he'd told her, pretty much, that the story is rubbish and she should stick to poetry.

I hadn't read the story yet, but now I was really curious, so I got it out of my brief case and read it, and I could feel that familiar anger that has to do with the Tersteegs, the "everlasting no." My colleague's professor had given her awful advice, one of those cold, academic responses that make story-telling sound like some kind of specialized skill rather than an innate need.

So now because of the soul-crushing "advice" she'd received, my colleague was ready to give up on story writing all together. I told her I hope she continues to work on her story, that even if it never sees publication, it's still important that she writes it, that she lives with it for a while, that she gives it a chance before she strangles it while it's still in the cradle.

"Sure," I told my colleague. "There are techniques and skills that we acquire along the way, but not knowing those isn't a reason to stop writing stories!"

It's a lovely story, by the way, of a young woman's sexual awakening.

After going through this experience with my colleague, I read Robert Pinsky's column in the Washington Post about the poet Hart Crane, whose editor took him to task for some of the details he used in "Melville's Tomb."


At Melville's Tomb
by Hart Crane

Often beneath the wave, wide from this ledge
The dice of drowned men's bones he saw bequeath
An embassy. Their numbers as he watched,
Beat on the dusty shore and were obscured.
And wrecks passed without sound of bells,
The calyx of death's bounty giving back
A scattered chapter, livid hieroglyph,
The portent wound in corridors of shells.
Then in the circuit calm of one vast coil,
Its lashings charmed and malice reconciled,
Frosted eyes there were that lifted altars;
And silent answers crept across the stars.
Compass, quadrant and sextant contrive
No farther tides . . . High in the azure steeps
Monody shall not wake the mariner.
This fabulous shadow only the sea keeps.

Of Crane's poem, Pinsky says, "[It] is lucid in its overall sweep, and that lucidity of the whole depends upon dramatic mystery of texture and detail. In Crane's somberly ornamented tribute to his predecessor, Melville, human instruments of perception are effective but doomed by their limitations. The lifted eyes of religion, the sextant of navigation, Melville's genius: All are ways toward knowledge that contrive or discover meanings, despite their mortal limitations. In a word, they are tragic."

Crane's editor, though, (another Tersteeg?) didn't understand how a portent could possibly be wound in a shell, and so on. Pinsky writes, "Anyone who has ever tried to explain a joke, or a piece of music, or a passion, can sympathize with Crane's exasperated effort to illuminate the essential shadows. Most things people say have denotative as well as connotative meanings. Just as poems often involve quite strict, straightforward logic, even a purchase order may use one term rather than another just because it feels right."

Amen.

My colleague was ready to take her former professor's advice, she said, because she had placed him upon a pedestal. She is now coming to realize, I hope, that for her to elevate him this way is unrealistic, perhaps even dangerous to her art.

Of course, Crane didn't listen to his editor and change his poem. He knew what felt right. But people who are just beginning to explore a certain kind of writing are vulnerable to "advice." You have to be very careful about giving artists advice, because you can never know what beautiful, dramatic, tragic, unique thing you might be killing.

There are all sorts of tombs. There are the ones people's bodies are buried in, but there are also the tombs that our passions and our greatest ideas are buried in. We bury them ourselves, of course, but it's the Tersteegs who helped kill them in the first place. We can't let the Tersteegs define our art; they're not the boss of us. They don't know everything.

There's a threshold that no teacher or mentor can cross. Only the writer knows where she or he has to go. Neither the Tersteegs nor the Beatrices of the world can go there for us or tell us how to get across that threshold, either.