Some poets, like some musicians, suffer from the “one hit wonder” syndrome, and Emma Lazarus is surely one of them. Lazarus is forever tied to a sonnet “The New Colossus,” the one that includes the line “Give me your tired, your poor…” which has not only been made part of The Statue of Liberty, but has become an unofficial idealized civic document of America’s relationship to immigrants and refugees.
Which might make you think that Lazarus’ family was part of that great American immigration wave of the 19th and early 20th century. Not so. Her family were 17th century immigrants to New York State, via a bank shot from Portugal to Brazil, as Jewish heritage peoples fleeing the aftermath of the Inquisition.
That someone had to have written this well-known poem is self-evident, but it hasn’t really made Lazarus’s work beyond “The New Colossus” subject to much study or readership.* Today’s piece “Long Island Sound,” another sonnet by Lazarus, has been passed around on blogs and poetry sites a bit though, so let’s see what we have. Here’s a link to the full text of “Long Island Sound” if you’d like to read along.
It’s a nature poem, a somewhat ecstatic one without resort to explicit words labeling emotion. I note one or two darker notes in the catalog of images of an August day that add shade to this summer ease: a “grave sky” appears here, and unless that’s a foreshortened “engraved” for meter’s sake, a summer storm may be forthcoming. The imagery raises to a superior level at times for me. The far-off sail “white as a crescent moon” is good, the tide’s sound on sand rendered as a “lisp” and the children linked with crickets is even better, and the “clouds fantastical as sleep” sticks with me even after several readings. Did Lazarus intend the pun on the word “sound?” I hope so.
I also like the ending. As I’ve learned, Lazarus’ family was well-off, but the persona in the poem is not specifically of any class or wealth. I can recall a summer working at a small factory in Mamaroneck, and a weekend afternoon watching a friend of a friend’s father sail his one-man boat out in the lower part of the Long Island Sound while we on the shore had the free talk and association of those without money for much of anything else. This poem’s Winslow Homer-ish landscape requires only the poet’s ownership of attention to claim it.
Since this is a painting by Winslow Homer, you won’t be able to hear the water lisping on the sand or crickets chirping amid the sound of distant children.
The player gadget to hear my performance of Emma Lazarus’ “Long Island Sound” is below. A short and jaunty one today.
*No worse than any other 19th century American woman poet who isn’t Emily Dickinson I guess. Lazarus is not the poetic innovator that Dickinson was, but she shares a few traits with Dickinson: her family was well-off, allowing her some privileged resources, she never married, she was something of a follower and admirer of Emerson (for at least awhile), and like Dickinson she knew Thomas Wentworth Higginson.
We’re a couple of weeks past Halloween, but let’s finish out our series on American poet Adelaide Crapsey with a ghost story about two families. Perhaps you don’t believe in ghosts? That’s OK. In this story one family believes in ghosts and the other one doesn’t.
As we learned yesterday, a young scholar and writer of poetry, Adelaide Crapsey was struck down just days after she turned 36 in 1914 by tuberculosis. Though greatly weakened by her illness, she had worked on organizing a book-length collection of her poems in her final year, including a section introducing examples of a new poetic form she had created.
Alas, she didn’t seem to have a publisher when she died. It’s uncertain who knew about the poems she’d selected. Adelaide had a strong belief in self-reliance and not burdening her friends and family, and so for as long as possible she’d kept the news of her grave diagnosis from them, and some of the poems in her manuscript (such as the ones used in our last post) spoke frankly about her illness, pain, and thoughts on mortality.
A grave marker that doesn’t burden you either. She ended her collection of poems: “Wouldst thou find my ashes? Look/In the pages of my book”
There were some external reasons for this desire not to burden her family. Her father, Algernon Crapsey* had been a prominent Episcopal priest in Rochester New York, one who had practiced a ministry to the poor and other disadvantaged portions of the Gilded Age. Adelaide’s father came to believe that certain spiritual beliefs of his church were not only of doubtful accuracy, but that taken on faith they would hinder service to the poor. Once he decided he was right about this, he wouldn’t shut up about it either. He preached it, he wrote articles and books about this: if you believe in miracles and heavenly rewards you are all too likely to not feel the need to make your own miracles by action here and now, in this life, on this Earth.
This put his church in a bind. Here was a churchman who was known for manifest good works around the state of New York, a Christian hero of a sort—but who was also vocally opposed to church doctrine.
So it was that a few years before Adelaide Crapsey died that a committee of investigators from the Episcopal diocese came to the parsonage where Adelaide had grown up to question her father on these matters. Her father was out, doing those good works. Her mother was worn-out from dealing with this all. Adelaide, like any good PK,** stepped in as hostess. The story is told that she served them tea and kept them graciously talking as the tea went down.
Oh, and she had spiked the tea with rum. It was said the investigators inquisitorial rigor suffered a decline during their wait.
But Adelaide’s father would not keep quiet. He eventually met with a church trial for heresy.*** He claimed the heresy of the church not serving the poor as Jesus commanded was far greater than any they could charge him with over supernatural events, but the church’s hierarchy convicted him. Maybe he wasn’t a heretic who believed in different gods or another heavenly host, but it just wouldn’t do to be a priest of their church who didn’t profess the right beliefs.
No burning at the stake though, he was just written out of his job and the church. The family had to leave the parsonage where they had lived for decades for a house some supporters found for them elsewhere in town.
Adelaide, like her family, didn’t believe in heaven and hell. And now she was dead, and as her poem had put it, her mouth was now part of the quiet as with falling snow and the hour before dawn.
In another part of the same town, there was a successful architect, Claude Bragdon. What kind of architect? Do you know the names of Frank Lloyd Wright, Louis Sullivan, or Buckminster Fuller? Claude Bragdon was that type, committed to artistic principles, in his case to a religious and mystical level. Indeed, he had a strong side-interest in Theosophy, a 19th century unified field theory of spiritualism and hermetic knowledge. He had known the Crapsey family and Adelaide at least somewhat. Adelaide had taken his mystical bent in stride, calling him “cube man” due to his fascination with the hypercube (which I think may be related to Buckminster Fuller’s theories about the geometric nature of the universe).
“The geometry of innocence flesh on the bone/Causes Galileo’s math book to be thrown” Claude Bragdon sings the Tombstone Blues.
Claude Bragdon had not been married long when Adelaide Crapsey died. His new wife, Eugénie had never met Adelaide. One day, in that silent time of the hour before the dawn, something happened. Here’s how he described it in his autobiography:
One morning in the summer of 1915 I was awakened by my wife Eugénie, who asked me if I knew anyone by the name of Adelaide. I told her that Mrs. Algernon Crapsey’s name was Adelaide, and it had also been that of her daughter, who had died a short time before. “Take me to see Mrs. Crapsey,’ said Eugénie, ‘because I was awakened by the sound of her name, repeated over and over: Adelaide! Adelaide!’ “
Now if a chill runs up and down your spine to hear this, the architect and his wife may have taken it more calmly. Not only were spirit voices and mediumship part and parcel of Theosophy, Eugénie was a “Delphic Woman” in her husband’s estimation, one who used automatic writing to take down sayings and messages from the ether.**** And so now Eugénie’s automatic writing sessions became peppered with messages from the late Adelaide Crapsey. With a little interpretation, the messages seemed to be referring to the poems, the book-length collection Adelaide had been working on.
Book negotiations have been known to get complicated, and I haven’t read all the source materials for this story***** but somehow the husband and wife mystic family convinced the social-gospel materialist family to go through the late Adelaide Crapsey’s effects, and retrieve the manuscript. I can see this scene written in Mulder and Scully dialog.
Claude came out of the Arts and Crafts movement, so buildings weren’t his only art. He also ran a small press for books on his theories and other Theosophical works. He became the book designer and publisher that introduced the world to Adelaide Crapsey the poet and determined ghost.
What became of Adelaide’s ghostly voice? It didn’t do a book tour or poetry readings—pity that, it would have pipped Tupac’s hologram by nearly a century and spiced up the valves of many a bookstore. The final automatic writing messages thanked the Bragdons for their efforts and assured everyone that the other side was a fine and happy place where she didn’t miss living at all. Just so much “Bread and butter notes” from the beyond.
Well, I did say that Claude Bragdon had many artistic interests. One of his friends was Alfred Stieglitz, the pioneering art photographer who was connected to another famous photographer Edward Steichen, a friend and brother-in-law of Carl Sandburg. Either through that connection, or Sandburg’s strong early interest in short poems created with concrete images rather than abstract words, or some Great Lakes leftist linkage between Adelaide’s social gospel preaching progressive father and the Milwaukee and Chicago based socialist Sandburg (maybe more than one of the above?) made Carl Sandburg aware of Adelaide Crapsey’s poetry and story, and he wrote a passionate elegy for her.
*I should have warned you: as elsewhere in this story, the 19th century names are full-flavored. If Lemony Snicket reads this, let it be known that I will defend my intellectual property to the upmost here!
**PK, “Preacher’s Kid.” As a class, they have an opportunity to grow up with an interest in philosophy, ethics and words, but also with a childhood were the expectation to be good and the desire to rebel have to be balanced from a too-early age. Alternative reader here Dave Moore and my wife are both PKs.
***The story of Adelaide’s father Algernon Crapsey sounds eerily similar to a tale from The Sixties and another Episcopal clergyman (a bishop no less!) James Pike. Pike was also committed to social change and questioning of religious dogma and was threatened with an ecclesiastical trial for heresy. Coincidentally, Pike eventually worked with a medium to try to contact his dead son.
****We now use Twitter. Much better. But are those odd messages we read from bots or….the other side!
Longfellow was minor and derivative in every way throughout his career…nothing more than a hack imitator of the English Romantics.”
“Who, except wretched schoolchildren, now reads Longfellow.”
And Lewis Mumford sums up his significance with a dagger by declaring that Longfellow could be completely removed from the history of literature without much effect.
Furthermore, while there’s no modern bon mot to extract from the Wiki, Longfellow’s didacticism, a huge defect if detected in modern poets, is noted. Even during his lifetime, that rankled the Transcendentalists, always looking for the more inexplicable sublime.
Akin to one our Parlando Project principles, Longfellow took the idea of “other people’s stories” to what are now considered ridiculous lengths. Instead of writing of intense internal experiences as Emily Dickinson did, or expanding the fleshy personal into a democratic universal as Whitman did, Longfellow wrote about many cultures and translated poetry from many languages. The term “cultural appropriation” didn’t exist as such then, but Longfellow could easily be charged with it. His best-known epic poem, Hiawatha, which has left its imprint all over my own region’s place names, is an earnest and non-hateful mishmash of the mid-19th century’s limited knowledge of indigenous Americans mixed with some contemporary to the time German romanticism. Longfellow would be a cultural criminal if he hadn’t already been reduced to a laughingstock.
OK, so what. All of these charges are true, but here’s what they leave out. To say Longfellow was “an American poet” is like saying Elvis Presley was a rock’n’roll singer. He proved that could be a thing, that an “American poet,” could connect successfully with a wide audience. He imitated Europeans and English romantics. Yes. Who the hell else was there to imitate? He wasn’t as original as Dickinson or Whitman. Yes, and neither is most any other poet you could name, now or then. And Mumford’s dagger? Alas, that can be said of most writers, because literature is a vast swarm of similar literary genetic ideas, but if there wasn’t a Longfellow, someone else would have to establish the idea of a popular American poet. That alternate-history someone else might have been good or bad, but it likely would have lead to some difference, even if the difference would be some other writer to rebel against.
I too wish Longfellow had tempered his didacticism, even if that is a large part of what made it possible for him to succeed. Most Victorian poets suffered from this as well, and it’s part of what the Modernists sought to break free from. To the degree that we are now Post-Modern, we can reassess this. Can poetry stand for something and still be art? If that is difficult to do, should it still be attempted?
Today’s piece is an example of Longfellow seeking to instruct, and the charge of cultural appropriation could be leveled at it too. In 1842, as opposition to slavery started to gather force in the United States, Longfellow wrote a short collection of poems on the “issue”—yes, human slavery, for and against, it was a debate. Longfellow explicitly released this collection for publication and distribution in support of the anti-slavery cause.
The obscenity of human jetsam. I learned about the Zong case only this year while traveling in Britain.
“The Witnesses” is from that collection. In it I think Longfellow transcends propaganda for this noble cause and demonstrates his effectiveness as a poet. He audaciously takes the notorious Middle Passage of over-sea slave shipment as his subject here. Though those travails were not his personal experience, the obscene losses at sea in the shipment of chained-up human beings is portrayed. I chose to further highlight Longfellow’s concluding phrase to all this. “We are the witnesses!” he writes, as the still shackled skeletons speak in his poem—but of course, un-romantically, their remains cannot speak. The poet, the reader, the performer, the listener, are the real witnesses here.
A short note. Wouldn’t you know it, after spending a good part of this year exploring the early 20th Century Modernists, I now have been using 18th and 19th Century sources more this summer. One of my favorite blogs, My Year in 1918 recently noted how I was tackling those WWI-era writers with my musical pieces for her readers who might want to sample that.
Well, I’ll return to those literary Modernists soon. After all, a principle here is to try to mix things up, to not be predictable or to always rely on my established favorites. But even today, I think I’ve been tipping my hat to another key early 20th Century American Modernist. As I was writing and performing the music for “The Witnesses,” with its variations on folk-style melodies that twisted between strains and finished with a louder cadence that didn’t resolve the multiplicity, I asked myself “Where’d that come from?” Early this morning it occurred to me: the composer Charles Ives, who was working at almost the same time as those literary figures. If he had access to an electric guitar he could have been Frank Zappa.
Once more I’ll break with my usual practice and apologize that I don’t feel I’ve fully realized this audio piece, mostly because it really should be performed with a number of featured voices and a chorus. While my computer and inexpensive collection of “virtual instruments” lets me reasonably realize a large number of instruments, it cannot represent vocal works very well. Go ahead and listen anyway, and if you can listen on speakers instead of earphones, crank the volume a bit.
How did you spend your extra hour given to us by the Daylight Savings Time changeover? Some spent it snuggled with a loved one, or others for splendid dreams given time for extra chapters. I spent my night and hour wrestling with another poet’s poem and creating and performing music for it.
A few posts back we presented William Carlos Williams “The Red Wheelbarrow,” a widely anthologized and very short Imagist poem. My current feeling, shared in that post, was that Williams really was talking about a red wheelbarrow, a simple tool used for important tasks. Of course, he was also aware that the rain-glazed red paint of the wheelbarrow and the white chickens around it was a bold visual image, consistent with the modernist art he appreciated, and that he didn’t mind the provocation of calling attention to this without elaborate justification, any more than a classical painter or poet would think they would have been required to tell us why we should give a fig about Artemis.
Here’s another short Imagist poem, this time by Hilda Doolittle, who wrote as H. D. H. D. knew William Carlos Williams from when Williams was a college student, but then H. D. knew or crossed paths with many of the principals of Modernism over her lifetime. Modernist poetry admitted more women creators than painting or music, or most other arts at the start of the 20th Century, but that’s a low bar to clear. H. D. cleared it however, and she continued to run her own race on her own course from the start of her career.
Another episode from HD’s remarkable life: she was present when King Tut’s tomb was opened in 1923
H. D.’s 26 word poem is much different from Williams’ 16 word one. It’s much stranger, and the internal state the external images present is more complex than even many longer poems reflect.
In some ways, the title “Oread”, the effective 27th word, helps us. For those not up on Greek mythology, we can look it up, it’s a mountain nymph or spirit. Like many Greek nature spirits, an Oread is female.
So, from the title of the poem, we can say that it’s an Oread that’s speaking—but even if we grant that, this ain’t Tinkerbell. The supposed nymph is commanding nature, as a full-fledge god or goddess or a magician would. And the Oread is not asking it for protection, or forbearance, or even for it to put the hex on someone else, it’s asking it to do it’s best to overcome her. “Whirl” “pointed” “splash”, and “hurl” are some of those 26 words.
Another huge difference between Williams “Wheelbarrow” and H. D.’s “Oread:” the former is intensely visual, the later, just as intensely, tactile.
And who’s the Oread talking too? Three words in, it seems to make that clear: “sea.” Except the sea is described largely as a forest—a forest that can splash and form pools, but a forest at least as much as a sea. The sharpest readings of this is that the Oread is speaking of the sea with the images of the forested mountain (waves are like trees, water drops are like the needles of pines), but by saying it so, she is saying that the overcoming she commands is a merging of two like things.
I’m left with a conclusion that this is a spell of desire. Whether it is sensual, spiritual, or artistic desire makes no difference in the frenzied merger that is being called into being.
So, what did I do in writing music and performing “Oread?” I repeat most of the lines at least twice, to emphasize the incantational aspect. Despite my recently expressed desire to re-explore artificial drum machine sounds, the percussion has lots of little instruments for a ceremonial air: shakers, maracas, cymbals, tambourine, even a chiming triangle. The main musical motif is a four-note synthesizer phrase that seems to be looping, but once again isn’t, as permutations occur throughout. The bass part rarely plays the same note as the synth motif, a musical effect that can be likened to “rubbing,” an apt metaphor for this sensuous poem.
Thomas Wentworth Higginson may have exaggerated a bit, speaking then of “dread.” But it was 1891, and he had taken on editing the surprisingly vast literary legacy of Emily Dickinson for its first substantial publication. In this task, he was a lucky find, for though he had engaged in a lengthy correspondence with Dickinson when she was still alive—the real rarity was that he was a thoroughgoing radical, a Transcendentalist comfortable with heterodoxy, an uncompromising abolitionist who raised and lead a company of Afro-American soldiers in the Civil War; and rarer yet in his time, a stalwart feminist who knew and worked with pioneering American feminists Lucy Stone and Susan B. Anthony.
Abolition, Transcendentalism, Civil War, Women’s Suffrage and rights
Higginson wasn’t going to keep a little keep a poem about desire bottled up
So, fear of controversy was not in Higginson’s nature. Still “dread” was the word he used:
One poem only I dread a little to print—that wonderful ‘Wild Nights,’—lest the malignant read into it more than that virgin recluse ever dreamed of putting there. Has Miss Lavinia (Emily Dickinson’s surviving sister, and the one who found the large cache of poems at Emily’s death) any shrinking about it? You will understand & pardon my solicitude. Yet what a loss to omit it! Indeed it is not to be omitted.
What dread could a little 12-line poem cause? Dickinson’s “Wild Nights Wild Nights” appears to be a poem about unembarrassed female desire. Even with suggested subtext supplied for for lines like “Rowing in Eden,” it probably seems less shocking today. Still, let’s give Higginson some credit. He not only didn’t want to censor it, he maintained it needed to be included for publication.
Even if we’re not shocked by an erotic element, let’s not forget: it is an Emily Dickinson poem. It’s terribly concise. It sings off the page, yet with such short lines, just three to five syllables long. It’s memorable. When I mentioned it to my wife as the next piece I was working on, she nearly knew it by heart.
But most strangely, though it starts like an ardent valentine, it finishes either in disconnected thoughts blurred by lust, or with something altogether less conventional. Setting humptastic subtext aside, why would one row in Eden? You’re in paradise! Where do you want to go? Do you need to stock your ship up with the fruit of knowledge against the scurvy of faith? And you’ve made it to port in the last stanza. Again, let’s leave the “made it past third base” metaphors behind for a moment. Why are you exclaiming the sea when you’re in port? I even wonder if Dickinson is slipping in a pun here: “Ah! the sea!” sounds like “Odyssey.” Is Emily’s wild-nighter an Odysseus looking to getting back on the boat and back to sea?
I don’t know exactly what Dickinson is getting at there. It’s her characteristic level of concision: pretty, but sharp pieces of glass, leaving lots of slant light to refract.
Poetic license. Yes, I know “Wild Night” is on Tupelo Honey
We’ve followed the Parlando Project goal of varying the music with Dickinson poems so far, even casting her as a classic blues singer. For “Wild Nights Wild Nights” I wrote a more rocking R&B thing this time. I relaxed a bit with the vocal this time too: tossing it off in one take while playing the acoustic rhythm guitar part. The opening lines of Dickinson’s poem reminded me of Van Morrison’s song, and so I slipped a few mutated lines near the end. Play the performance with the gadget below. You can dance if you want to…