song

The Singing Woman from the Wood’s Edge

~ Frank Hudson ~ Leave a comment

I’m thinking lately of the magic of consciousness, of how we exist as distinct limited illuminations of this world for a certain time, and how strange and inexplicable that is.*  Is that funny? Tragic? Is that choice just a matter of emotional weather and sensibility?

Today’s poem by Edna St. Vincent Millay is several things. First, I’ve made it the song it pretends to be, but it’s also something of a fairytale, and in sensibility it aims for humor. And since tomorrow is St. Patrick’s Day, we might see it as commentary on Irish culture from a woman’s perspective, even if American-born Millay is not generally thought of as an Irish culture poet to my knowledge.**  Of course all poets have, on one level, a single citizenship issued by our international muses, and our work may cross borders at will — even the well-guarded and maintained borders of time. But still, today’s piece “The Singing Woman from the Wood’s Edge,”  is going to use some Irish stuff that might need translation for anyone not versed in Irish culture.

“The Singing Woman…”  was included in Millay’s 1920 poetry collection A Few Figs from Thistles  which largely created the popular persona that launched her to the height of her fame during the last century. Back then they sometimes called Millay an exemplar of “The New Woman,”***  a label which doesn’t tell you itself anything of the novelty implied. Among those traits that might be contained within the term were unhidden intelligence, independence, openness to Modernist changes, and unabashed agency in love and sex. Was this a problem or an advance? The culture of the previous Twenties wasn’t sure, but they talked about it and had opinions. That currency and conversation, that framing, helped Millay to fame, and yet probably constrained her too. A Few Figs from Thistles  was read as part of this to a large degree.

A Few Figs from Thistles  often used humor within its poems tweaking of conventions, and “The Singing Woman…”  is an example of that. Fairytales can be scary or thinly disguised warnings against stepping into the unknown, but this one takes what could be a rather distressing situation and plays it for knowing winks. Since I know this Project has an international audience of varying ages, let me make sure we unpack the cultural particulars of this poem’s tale.

Millay and her poetry garden

Another spring task to get underway? Millay, her husband Eugen Boissevain, and Edmund Wilson make a point of planting a “poetry garden.” Not shown: plentiful organic fertilizer.

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The poem is the first-person story told by a child of the union of a leprechaun and a friar. A leprechaun****  is an Irish fairy creature. Leprechauns are solitary (unlike many other fairy types) and are often thought of as being in conflict with humanity, tricking or being tricked by humans. Friars are monks, and in the context of Ireland, we can suspect that they are monks of a Roman Catholic religious order. They too have elements of solitariness, as some monks live in deliberately separated contemplative communities seeking to avoid the corruptions of the material, human world. Oh, and one of those defined corruptions that all Catholic monks are pledged to avoid: sex and marriage.

So right from the second line we can see that the parents of our singer are both impure creatures in violation of their cultural rules, the powers and expectations of which they also apparently retain as the song further portrays them. Though I shortened the poem for performance length by one decorative stanza, a lot gets laid out in the poem, and a great deal of ambiguity and complexity is hinted at in the incidents recounted, even if they are played as a humorous tale. Our poem/song’s narrator, the fantastic mixed race (species even) woman of the title, seems to have chosen to “identify as leprechaun” in effect, but buried in the poem which gives equal time to the cultures she’s experienced from both parents is a sense that it’s more complex than a binary choice. And let’s not miss an important and primary point: both her parents are in violation of their cultures and vows. Regarding the roles often laid out as cultural “or” binaries she “ands’ them: “harlot and  a nun” — we can further suspect she’ll choose to not abide either’s rules.

I’m not going to further detract from this piece’s wry humor with more explanations and footnotes. Here’s a link to the poem’s full text, and you may well see a player gadget below to hear a performance of my song using Millay’s words. If you don’t see the player, this highlighted hyperlink will also play my performance.

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*Which is another way of saying that I’m momentarily unashamed about talking about the inner-directed and odd things that go on in my head as I wish my wife a happy birthday. I’m so grateful that her consciousness and its light has been held near to mine and our child’s.

**I was unaware of Millay’s Irish ancestral roots until I researched that before presenting today’s poem. Similarly, I’m unaware of how often another prominent American poet Frank O’Hara is discussed as having been influenced by Irish culture, despite that echt Irish name.

***See also last month’s celebration of “The New Negro,” the 1920’s other “New.” New is often getting old. On the other hand, a hundred years later, to this old person anyway, it seems like the last Twenties’ assumptions of independence and value haven’t become fully old-and-settled yet. Maybe this, still young and new, Twenties?

****One oddity in Millay’s mythological choices: even though fairies in general have a rainbow of genders, leprechauns are almost invariably presented as unmistakably male. There’s a riddle/joke using the old-style name “Indian” for indigenous Americans: A big Indian and a smaller Indian are walking by a river. One Indian is the son of the other Indian, but the other Indian is not the father of the other. Who is the other Indian?

Orpheus with his lute made trees, or springtime ambiguous

~ Frank Hudson ~ Leave a comment

Here’s a song about springtime and wonderous music. The author of the words is William Shakespeare, and it was written to be sung* as part of a play, an art that invites instant appreciation of itself simultaneously by a crowd and a group of people who present it. To merely read a play is like looking over the score of an orchestral work. If you are musically literate you may appreciate the ingenuity of the notes and musical parts, but it’s only a map or tool guiding musicians to the creation of the actual, momentary, and simultaneous thing.**

Late Winter Zen Garden crop

Stuck in the melting ice/snow, a tiny stick hosts some March fungi trumpeting spring! photo by Heidi Randen

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So, as we await the onset of spring and its ancient and age-tested paradox of everything fresh and new, let us return to another warm day that was once fresh and new. It’s 1613, and we’re in London where there’s a new Shakespeare play opening at the Globe Theater, that wooden O that has made his career, the entertainment center that the Bard himself is part owner and begetter of.

Yes, Shakespeare at this time was an established force in English entertainment — but this play has a tough balancing act to perform. The new piece is entitled Henry VIII, or All is True”  and unlike Shakespeare’s older history plays, this one deals with events within the childhood memory of the oldest inhabitants of London. The time Henry VIII, or All is True  is set in is no more past than the first season of The Crown  on TV is today. The theater and his company, The Kings Men, exist partly on the support and permission of the royal family.

The Globe is an entertainment business. Of course, Shakespeare uses his prodigious artistic talents as a draw for this enterprise, and much has been made about how Shakespeare used words uttered by actors alone to do what modern movies and TV shows spend a small nation’s budget worth of money to make with computers and craftspeople now—but the Globe company is not beneath practical special effects to boost the spectacle.

Near the end of Act 1 of the play, there’s a scene where Henry VIII enters with a celebratory cannonade to announce his arrival. If we were there, in that simultaneous artistic moment in 1613, beneath the bang and above us, some sparks from the cannonade equipment (located off-stage near the thatched roof attic of the theater) set the roof afire. For a short time, the play continues until the fire lapped around that wooden O*** and interrupted that moment before the play would come to its third act where today’s song would have been performed.

So, let us leave the simultaneousness of 1613, and ask about what context today’s piece would have been presented in if they had gotten to the third act. At the end of Act 2, Queen Catherine of Aragon has just begged Henry VIII and the play’s chief villain Cardinal Wolsey to not divorce and cast her out. As the third Act would have begun (if that theater fire hadn’t broken out) she asks a servant — who in what seems to be musical theater logic, is also a skilled lutenist who has her instrument at hand — “Take thy lute, wench. My soul grows sad with troubles. Sing, and disperse ’em if thou canst.”

In the course of the play, the song doesn’t work. At the end of the song, Wolsey appears to further seal Catherine’s fate.

Orpheus

Simplified map, not the thing itself: the Esus4 riff is repeated twice, and I think I played a CMajor7 over the final “die”

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Taken out of this context today’s lyric may seem like a simple song in praise of music — one that references the mythological character of Orpheus, who the Greeks held as the first and finest lyre player, and one whose music was so powerful that it was said to cause trees to travel to be nearer to his music.**** The poem includes more examples of this most well-known power of the marvelous musician Orpheus, but even as the first section ends there’s a subtle undercurrent introduced. Orpheus’ song can control nature the poem says, double-stating a claim that he has “sprung…spring” — but there’s some fine print, or rather a promise is made that we know nothing can fully deliver: it’s a “lasting spring.”

We who sit today in the North on the verge of spring know spring will come. We also know it will go. There’s no such thing as a lasting spring, or a never-ending song. Shakespeare’s new play can start, we can all watch as it occurs before us, but in an instant we might be hot-pantsing it out of the moment and dowsing it with ale. We can be a faithful lover and be denied.

I may be misreading, but the end of the poem seems to add further ambiguity. The servant singing Shakespeare’s song to the soon to be deposed queen says music can kill care and grief, but the sentence continues into the next and final line of the poem: “Fall asleep, or hearing, die.” Is care and grief killed, or is it just beguiled and sleeping for the length of the song? Is the listener to the song — the other hearer besides care and grief — distracted only for a time, for a moment of spring, as one asleep? And then the song ends on that most falling of notes, the word “die.”

Shakespeare’s play can have cannons. And then it can have little 12-line songs.

Today’s song performance has bass and acoustic guitar, organic instruments that have known trees, and then one of my favorite fakeries: the Mellotron. Long time readers here will know my fondness for the Mellotron, a primitive yet overly complicated approximation of orchestral instruments that was used around 50 years or so ago to suggest a bigger recording budget for certain vinyl records. It’s a failed approximation of the things it suggests, but there’s a tragic richness to that failure for some. To hear my performance of “Orpheus with his lute made trees”  you can use either this highlighted hyperlink to play it, or if your blog reader favors us with the appearance of the player gadget below, you can fire it off with that.

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*Alas, the music to which the songs in the plays were sung during Shakespeare’s time is lost, though today’s lyric has been set to music by a number of composers.

**As we approach a year into our current pandemic, doesn’t this art, the art of live performance in one crowded place, seem even more strange and marvelous?

***Art and time passed aside; you may wonder: three thousand people in a packed wooden theater with at most two exits. How many died? Apparently, no one. Eyewitness accounts include this detail of one notable casualty, “One man had his breeches set on fire, that would perhaps have broyled him, if he had not by the benefit of a provident wit, put it out with a bottle of ale.”

****I wonder if Willy Shakes wasn’t engaging in some wordplay with the songs opening line. As a player of the guitar, an instrument that is something of a successor to the lyre and lute, we know the reverse of his opening: our “lutes” are largely made of trees. And rather than having musical power to enchant trees we sometimes think as that wood shifts and changes the playing action of our instruments, or it boggles tuning stability, that our wooden guitars have not quite gotten over being wild trees, ones not totally enthralled to our powers.

A Negro Speaks of Rivers

~ Frank Hudson ~ 2 Comments

A hundred years ago, a teenager is riding on a train to Mexico. He’s just left his high school in Ohio. He’s Black. Most of the school was white. When he was in Junior High, the class was asked to elect a class poet. The teacher suggested it should be someone who understood rhythm, and so they elected him. Ah huh…but then he’s also done well at school and now his teachers are suggesting college. That poetry that he had been elected to is sticking with him, literature too. The first successful Black American poet Paul Lawrence Dunbar had been from Ohio. He thinks “This is possible.”

The teenager is traveling alone on the train. He’s already accustomed to that. If his poppa was a rolling stone, then his mom was moss. They’d split up before he entered school. His father moved far about, following his business interests, and he was the one in Mexico the young man was traveling to. His mother had left him when he was a young child in the care of his grandmother, and then the grandmother died just as he became a teenager. After that, he and his mother tried to reconnect. Mother. Son. Perhaps the deepest tie there is. It didn’t quite work.

The train crosses the Mississippi, the indispensable dividing river of America. He watches out the train window. A train line is a story someone wrote. A river is history — it’s there even if you don’t know it is. But the young man knows more history than many young men knew then, or that many know now.*  In particular, he knew that Abe Lincoln, scuffling for work as a young man, had manned a freight-loaded flatboat down that river to New Orleans in 1828. His freight was goods in crates, and New Orleans at the mouth of the Mississippi was a commercial center for goods. While there young Lincoln sees another market, another type of goods: Black people being bought and sold as livestock.

How ignorant was the young Lincoln of slavery? There were a small number of slaves in the Illinois County Lincoln was traveling from.**  The slave market in New Orleans was Americas largest. Perhaps slavery was mostly a story someone told Lincoln before that.

Back in 1920, our Black teenager on the train pulls out the handiest scrap of paper he can find, a letter from his father. On the bare places of that paper, outside his father’s words, he composes today’s poem. He’s going to Mexico City to spend some time with his father and to ask him if he’ll help pay for college so he can study literature.

They spend a summer together in Mexico. Father and son. So often there’s a deep tie between such, but in this case it didn’t quite work. In the end this was the deal they negotiated: yes, he’d help his son with college — but no, he had to study something useful:  engineering.***

The young man tries to hold up this agreement. He enters Columbia University in New York City to, yes, study engineering. It doesn’t work. The young man drops out of college and begins working as a bus-boy, but he’s writing poems, and in June of 1921 W.E.B. DuBois’ The Crisis  magazine publishes today’s poem, the one he wrote on the back of his father’s letter on the train: “A Negro Speaks of Rivers.”   In 1925 it also appears in The New Negro anthology which I’m using as a theme here this month. Here’s a link to the full text of the poem.

Our young man was Langston Hughes. Today’s post is a story based on the little I know about how he came to become a writer. Stories are something we have to write, we engineer them, we build them, lay them out. But, history? History is a river. It’s there whether you know it or not. Surely it goes on, whether you know it or not. Shouldn’t you know it? Shouldn’t I know it? Shouldn’t we know it?

Langston Hughes Grave

Full circle. After Hughes died in 1967 his ashes were interred in the the middle of this mosaic depicting “The Negro Speaks of Rivers” on the floor the lobby of the Schomburg Center for Research in Black Culture in New York.

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The player gadget to hear my performance of Langston Hughes’ “A Negro Speaks of Rivers”  is below. If you don’t see the gadget, not to worry. This highlighted hyperlink will also play it.

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*Indeed, somehow our teenager knew more about Black history than many would have in his time, and the chance that he learned much if any of this in school was low. Forty some years later when I was a teenager, I asked my Freshman Western Civ. teacher an innocent question: “Were the ancient Egyptians Black?” He seemed startled at the question. Hughes was hip to that question in 1920.

However interrupted and strained Langston Hughes’ relationship with his family was, he must have been pointed in some directions by them. A chief source was likely that grandmother who took care of him until she died when Langston was 13. Did she know stories or history? Well, Hughes’ grandmother’s first husband was Lewis Sheridan Leary, who died during the 1859 Harpers Ferry raid just before the Civil War.

**This post says 13 enslaved people of the population of nearly 13,000 in Lincoln’s Sangamom County.

***I’ve also read that part of Langston Hughes’ father’s issues with his son was that he thought Langston effeminate, and Engineering (than, as still now) was a mostly male field.

Langston Hughes’ Dream Variation

~ Frank Hudson ~ 1 Comment

Returning now to the poets presented in Alain Locke’s 1925 The New Negro  anthology, we’ve come to the poet I most associate with the Harlem Renaissance, Langston Hughes. Though he was born in the Midwest and traveled some, Hughes actually lived for much of his life in New York City, unlike some others associated with that artistic flowering. And though Locke’s book concentrated on young, up and coming writers for the most part (Hughes was 23 when The New Negro  was published) Hughes’ literary career continued on a more or less continuous path until his death in 1967.

So, if I was asked “Name a Harlem Renaissance poet.” My first answer would have always been “Langston Hughes.” And if Locke’s book is the launch point for that, Hughes was as prominent as any other young writer featured there and then, even if in 1925 he had yet to publish a single book.

Young Langston Hughes

Young Langston Hughes. Hey Pharrell, pretty sharp work on those fedora creases don’t you think.

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This makes it strange then when I went to do a little research on how Hughes was judged during his 40 plus years as a literary artist. The summaries I read often point out that he was down-rated during his career, and to some degree up to the present day. Why? Well, he did have to go through the dangerous 1930s when political engagement was expected of writers, and like some others he had to handle the double-bind of associations and sympathy for the Russian Revolution and Communism and then later criticism of its faults. Many of the promotors of The New Negro  era were so focused on up-lifting the race and demonstrating high-culture acceptance that they were uneasy about Hughes’ embrace of a wider range of Afro-American experience. And finally, there seems to be an element of purely literary judgement he shares with Carl Sandburg and Walt Whitman (two of Hughes’ influences) that what he wrote was judged as too simpleminded and unironic. Sure, the high-culture critics would essay: that kind of poetry might have readership broader than many, but it doesn’t fit the literary criteria ascendant as the 20th century unrolled.

Today’s piece, “Dream Variation,”  one of Hughes’ poems printed in The New Negro,  is a short nature poem. Here’s a link to the full text of it.* Like a lot of lyric poetry, you can read it quickly and superficially with some pleasure. It has rhyme and its rhythms.  It counts off some pleasant if not overly spectacular word-music. The first time through you may think it’s just pointing out a commonplace, something one could summarize as: “Hey, it’s nice when it sunny and you’ve got a day outside. And then a summer night when you finally go to bed — that’s nice too.”

Wait a minute. What’s with Hughes’ title: “Dream Variation?”   First off, that seems to say that kind of summer carefree pleasure isn’t something the poem is experiencing right now. Like Wordsworth’s daffodils, the poem’s speaker is experiencing this mentally, as if in a dream. That’s a different thing isn’t it. In the same way that a love poem about lost love is not the same as a poem about present love, this is a poem containing longing. Many of us are reading this during this February in North America. Likely you may relate to that state the poem is actually portraying.

I have no way of knowing what the weather was like when Hughes wrote his poem, but Hughes estranged father lived in Mexico where Hughes visited him before embarking for New York City and the beginnings of his literary career. So that titular variation may be a dream not only of passing seasons but of lost places too.

But there’s another way that variation means. In music it’s when a composer modifies elements of an established motif and we see it morph into a new related shape. Do you see what Hughes does here in his short poem? There’s a statement about dancing, arms wide and accepting, in the sun — and then resting in the evening “beneath a tall tree.” An interlude, when inside the body of the poem they express that this is “my dream” — not what they’re doing as they speak the poem. Next we learn that the “bright” day is now described as “quick” and the following “cool” evening is now “pale” evening. And finally, the real metamorphosis: the poem’s speaker is now not “Beneath a tall tree” — there is just a tall tree that remains as night comes.

This variation is subtle and somewhat undefined, mysterious, once you notice it. Is this a statement of the poem’s speaker’s absence from the warm place, that in the variation he’s no longer present? Has the speaker’s life, the proverbial “quick day” ended? Or, is it something even stranger: in the dream he’s no longer the external dancer beneath the tree, external to the day, external to the night, but now he’s become them?**   In dream logic it can be all those separate things at once. That’s part of why a dream experience can be so striking!

In this poem, like in some of the poems of Sandburg that I’ve presented here, I maintain that the simple language and seemingly straightforward scene of the poem has misled some readers and some critics. If I was encountering this poem as if I was translating from some Tang Dynasty Chinese classical poet, I would be aware that the poem may not be whamming me on the head about “Look it’s clever metaphor after metaphor! My, how complex a plot I can stuff into my poem! I bet no one ever said anything as complex as this ever before!” Perhaps the assumption is that a working-class Afro-American or the son of a Swedish immigrant can’t be thinking anything more complex than class-struggle position papers.

In my performance of Hughes’ “Dream Variation”  I consciously sought to bring out the mysterious element here. Stubbornly the harmonic progression I composed sticks closely to a core around the D note of the scale. Chords move between major and minor however and there’s a rub up and down with a D# Major7. The player to hear my musical performance may appear below, but if you don’t see it, this highlighted hyperlink is another way to hear it.

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*I used the text as printed in Locke’s anthology for my performance as it’s in the public domain. The version I link to is later and includes some, well, variations. In the newer version taken from Hughes’ Collected Poems,  the title has become plural, “Variations,”  “the bright day” has become “the white day,” and a couple of other smaller changes were made. One could speculate that the “bright day” vs “white day”  could have been suggested by an editor as less confrontational.

**And I haven’t even entered into the significant racial aspect that is there as well. The dark night in the poem’s first experience as being first external to the poem’s speaker and being one with it in the second “Black like me.” As an Afro-American poet, Langston Hughes almost certainly intends this, and it may be the most consciously intended message he wished the reader to receive: that poem’s journey via its variation is from experiencing one’s Blackness as externally to an internalized appreciation of it, and that later revision from “bright” to “white” for the first instance of the day underlines that reading.  I featured the above reading not to obscure that, but because our particulars as persons bleed into our commonalities as people. When William Butler Yeats or Joseph Campbell speak of being colonialized Irish, it’s not just about their particulars. When Du Fu speaks of being overcome by great events, it’s not just 8th century China that has felt that. When Emily Dickinson’s mind grasps onto a flower or abstract thought and sees its edges always curling, she’s not reduceable to a bourgeois New Englander. And so to when Langston Hughes speaks about being Afro-American in 1920s America. And frankly, I’m hesitant to assume an Afro-American identity as a performer of Hughes’ poem, even as I want to bring it forward to your attention.

Update: An alternate primary reading that the first dream variation is an unachieved dream and that the second is a reflection of the reality of Afro-American life colored by racism seems widespread. Widespread enough that I wonder if Hughes wrote of his intent or understanding of his poem’s meaning at some point. For example many of the alternate readings say the poem’s second dance and whirl is work-a-day and likely menial work inside a Capitalist and Racist system that wouldn’t value Hughes. Hughes experience and political thoughts could be consistent with writing a poem that expressed that. As much as I should doubt my reaction to the text of the poem as printed in 1925, I’m still not seeing that as being the inevitable and singular reading of the second variation, but I offer this update as a self-confessed non-expert on Hughes’ work and because I suspect not a few students come here via web searches to seek insight into poems, and so they should be aware of this other reading.

 

The Snow Fairy

~ Frank Hudson ~ Leave a comment

When it comes to pieces for Valentine’s Day, there’s a great deal of love poetry to draw from. And it’s not uncommon for those love poems to be sonnets — after all, that form has been used from the times of Petrarch and Shakespeare for poems about passionate relationships. The course of love is often complex and unstraightforward, and fittingly most sonnets contain a volta, or turn, where the poem shifts from one aspect to another, a feature that is useful for portraying the alternating currents of passion.

For today’s piece I’ve used a distinctive winter love poem by Afro-American and Harlem Renaissance poet Claude McKay. In this poem, “The Snow Fairy,”  McKay uses an unusual form, a double sonnet, a pair of 14-line poems that allows additional volta/turns. Here’s a link to McKay’s text if you’d like to follow along.

Claude McKay 2

poet Claude McKay as a young man

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“The Snow Fairy”  opens with a fine sonnet about a winter snowfall. If one was to read it as a stand-alone poem it wouldn’t seem truncated or insufficient by itself, but McKay wants to present it as part of a pair, and as we’ll see it’s both foreshadowing — and in a time-twist, the actual conclusion of the poem chronologically. Sonnet I has the snow, as per the title, personified as fairies, a kind of otherworldly being that may have connotations of light-heartedness or simple wonder. But note a very subtle shift in the supernatural creatures fluttering down in the second quatrain: “As though in heaven there was revolt and riot.” The merely fantastic in the opening quatrain has taken a more consequential air. I’m not sure how many readers notice this, but to me this is an unmistakable reference to Milton and Satan falling after the war in heaven in Paradise Lost.

Third quatrain, and we’ve switched our attention to the poem’s speaker, who’s gone to bed without mention of any other person, and awakes to view the once individual fairies/fallen angels, now lying still, yet joined together after their night long whirling dance. In the concluding couplet, as often in a Shakespearean sonnet form like McKay uses, we have a turn. We’ve spent our focus up to now on these snowflakes, but in the couplet he tells us by the end of the day they’ve melted away.

In sonnet II, the poem’s speaker flashes backwards in time, connecting via the memory of the first sonnet’s night of winter snow. He’s reminded of a “you who came to me upon a winter’s night” as did our snowflake/fairy/fallen angel creatures did in sonnet I. In sonnet II’s second quatrain this couple are like our snowflakes of the first sonnet, tossed and dancing in what he tells us is passion. In an echo of the third quatrain of the sonnet I, in the same quatrain of sonnet II, they are tenderly joined and bedded.

And then the turn, the volta: faster even than the by midday melting snow of sonnet I, at the break of dawn the partner is gone, leaving the poem’s speaker alone to be the writer of sonnet I, watching the snow fairies fall in winter.

Read with modest care, the story told in the most minimal of sonnet sequences is plain. Love is wonderous. Love joins us, un-times us for a time — and then, whether parting by the single night or death, it is “stol’n away.” But are there additional undercurrents?

I sense there’s a question in the last row of readers out there, and over the Internet I can’t tell if it’s snarky, sincere, or asked hesitantly: “The title is ‘The Snow Fairy.’   Is this two guys hooking up? Is McKay gay?”

Even today when the acronym for non-heteronormative affections and gender extends ever outward, such answers aren’t always simple binary switches, but yes, it seems generally assumed that Claude McKay had erotic connections with other men. McKay never “came out” in a way that folks in our lifetimes do. In the context of this poem, the question may be focused to a subsidiary question, is “The Snow Fairy”  a coded statement of his sexuality, written so that that those who know would know, and the others would not?

One could write an essay longer than this post, but on balance my reading is that, like his equally lovely summer-day-long love poem “Memory of June”  this feels as if McKay is describing the difficulties of gay people being able to form lasting relationships when that was desired in his time. The subtle turn from fairies to Miltonic fallen angels in sonnet I also seems to be signaling outsider status. There’s also a possible significance in the title snow fairy being singular while the snow fairies/snowflakes are multitudinous. But was “fairy” a clear signaling word? It seemed like that to me when I first read this poem, but upon research that’s ambiguous. Terms used for gay people have a history of emerging and shifting over time, both inside and outside the community. Fairy as a slang word for an effeminate man seems to have emerged in the mid-to-later 1920s,*  and was in common understanding by 1940 or so, but this poem was published in 1922. That means that it might  be too early for it to be understood by other gay people generally, or even McKay, as signaling. On the other hand, it seems likely that a general reader in 1922 would not  read fairy = gay when seeing this poem on the page then.

But in another way, is that the only thing that matters about this poem? No. Love and desire is both complex and unitary. Passing love, passing sweetness, unrequited desires, loneliness for absent lovers — put all the genders, nationalities, races and practices together in one snowbank and you can’t separate out the unique snowflakes. We love and we are gone is one whole part of humanity. Perhaps that’s why Valentine’s Day is but a day?

I performed Claude McKay’s “The Snow Fairy”  in this simple arrangement to get it done in time. I had another version with basic tracks of a more full-band arrangement, but this one with just 12-string acoustic guitar and bass was easier for me to complete. To hear my performance, use the player gadget below — or if you don’t see the player this highlighted hyperlink will do the job too.

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*Somewhere in my research I found citations that seemed to narrow it down to this between-the-wars period, at least for significant usage, but alas I’ve lost my cite notes on that, and, this blog post indicates fairy = gay may have origins as early as the 1890s.

Georgia Douglas Johnson’s Escape

~ Frank Hudson ~ 2 Comments

When I look through an old anthology like Locke’s The New Negro from 1925, my eye is not just looking for the well-known work featured there, but to the ones that somehow got overlooked, and that’s how today’s piece “Escape”  by lesser-known Black poet Georgia Douglas Johnson came to my attention. Unlike Countee Cullen from last time, or several other authors in that handsome book that served as the bound and determined launch point of what would be called The Harlem Renaissance, I don’t think I even knew Johnson’s name.

Why would I not know Johnson’s work, or even her name? I’ve got some initial theories. Like a few others classed as part of the Harlem Renaissance (old favorites from this blog Anne Spencer and Fenton Johnson are two others) she never spent any significant time in New York City, and so missed out on the direct network effects of that vibrant cultural scene. She was a woman, and by 1925 that was not where literary culture was focused. She was politically engaged, but as far as I can tell, not closely associated with the Communist left that was an important nexus for Afro-American radicalism between the world wars, and her early poetry from which The New Negro  had to draw from was more like the work of some other American women poets* of her time: lyrical, interested in presenting complex interpersonal relations and emotions considered at the time as being outside of politics.

Georgia_Douglas_Johnson

Georgia Douglas Johnson, 16 of her lines brought her to my attention, and now to yours.

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Johnson spent most of her life in Washington D. C. where she was married to a man who had a lower-level government job when her first books of poetry were published. The short biographical notes say that her husband wasn’t fully supportive of her literary efforts — but then her situation changed again without advantage when she was widowed at age 45 with two children to support. Somewhat like one of my grandmothers, she was forced to scramble for low-paying clerical jobs that were among the few open to middle-aged women in the days when the want ads were as segregated by gender** as many public accommodations were by race.

One good thing that came to her from widowhood was that she founded a long-standing literary salon in her modest home in Washington which seems to have been — like Anne Spencer’s home in Lynchburg, Virginia — a place to celebrate, support, and promote Afro-American thought, activism, and arts.

But if it’s her poem that brought Johnson to my attention instead of her fame, we should move onto that. “Escape”  is another of those short lyric poems that can seem slight on first reading, something that might justify itself solely for being musical on the page. Here’s a link to the text of the poem if you’d like to follow along. Yet, if one looks closely at what it’s saying, its insight should come forward. This is a poem of withdrawal into solitude to escape sorrow. Though short, the poem makes clear this isn’t some kind of graceful meditative solitude either. She calls it a “black abyss.” Though the cause of the sorrow that the poem’s speaker is fleeing is not stated, I note that Georgia Douglas Johnson genders this pursuing sorrow as “She.***”  If one stays with the poem a bit, as I had to as I composed today’s music and figured out how to perform it, its easy to consider that the poem’s speaker’s “Escape” has her fleeing one sorrow for another, and an even lonelier one at that.

Here’s another quick judgement to avoid with this or other poems. Johnson isn’t necessarily advocating for what the speaker of the poem describes. Because the poem doesn’t go into specifics, we are free to supply from our own experience what is the sorrow that has caused the poem’s speaker to flee to an abyss. Patriarchy? Racism? Poverty? The struggle to create art in a society that has many competitors to that? Something else?

Johnson’s life tells us she fought off that sorrow, suspended herself from that abyss of loneliness, sought to advance her art and other Black artists, and to redress the inequalities of racism. I think she left us with a statement about what such sorrowful obstacles feel like, and it also tells us, “Yes, I know how that feels — but it’s a trap.”

Besides composing today’s music, I made two additions to Johnson’s words for today’s presentation of “Escape.”  Because I was attracted to the “music of thought” in how Johnson uses parallels/refrains in her account of fleeing from sorrow, I decided to end the piece with the same word, “sorrow” that ended the first stanza. A second addition happened as I was performing the song. As I got to the second or third take, I started to sense somehow a song by the American composer Moondog was asking to be let in, and so I sang a phrase from his piece “Loneliness”  using the variation of his lyric that Janis Joplin used when she sang it.

Musically, I think it’s an interesting chord progression I used. The song is in the key of E, but besides using the obligatory 5th more as a passing tone, I dwell on the key of E’s 2nd and 6th degrees in this piece. The player gadget to hear my performance of Georgia Douglas Johnson’s “Escape”  should be below, but if you don’t have it in your blog viewer, this highlighted hyperlink will also play it.

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*Examples of non-Black American woman writers working with these subjects include Sara Teasdale, early Genevieve Taggard, Elinor Wylie, and Edna St. Vincent Millay. Taggard and Millay were moving to political engagement in causes also championed by male writers by this time, and Georgia Douglas Johnson is noted in many passing mentions of her work as also being an anti-lynching activist. For Taggard and Millay this change in subject matter didn’t really prevent them from being de-emphasized by the more male-centric literary culture of mid-century America.

**I don’t know how many young people read this blog, but when I was growing up a great many job listings were printed in pages of small print in daily newspapers. Hard as it may be to believe, they were explicitly split into jobs for men and jobs for women.

***My reading? This is something she feels women may inflict on themselves.

In Memory of Colonel Charles Young

~ Frank Hudson ~ 1 Comment

A new month, and I hope to have some new pieces here with a focus on February and Black History Month. It’s also a new year, and there are now some new books and works available in the public domain that I can freely adapt for use here.

I found today’s piece “In Memory of Colonel Charles Young”  while reading one of those newly PD books, Alain Locke’s anthology The New Negro, An Interpretation published in 1925. This book was something of the premier book-length publication of what became known as The Harlem Renaissance. Unlike James Weldon Johnson’s anthology of just three years prior, The Book of American Negro Poetry, Locke’s book was a collection containing only the work of living writers, and with a particular focus on younger Afro-Americans who were just then coming to the fore. And so it is that after an introductory essay on “Negro Youth Speaks*”  by Locke that I began to read his selection of youth of his day with the first poet in the alphabetical section: Countee Cullen.

illustration of Countee Cullen by Winold Reiss from The New Negro

Locke’s The New Negro is a beautiful book too, with striking woodcuts and illustrations of the authors.

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Let me once more demonstrate the gaps in my scholarly education. I knew Cullen’s name and little else about him. The various short literary assessments I’ve since read to get some quick handle on him concentrate on his eventual estrangement from the development of Afro-American literature and poetic Modernism in general because his verse used 19th century Romantic poets as its models, and as his career progressed there was a feeling that his youthful promise didn’t sufficiently develop. After the heyday of the Harlem Renaissance passed by, Cullen in the 1940s was teaching middle school. One of the young teenagers he taught? A kid named James Baldwin.

So, what stood out as I came upon “In Memory of Colonel Charles Young”  in Locke’s anthology? Well, there’s a mystery there for one thing. The poem read alone on the page seems to evoke something, but I suspect few readers will grasp what it means. Here’s a link to the text of Cullen’s poem. For me, and probably for you, that mystery starts right-off with the title. You may well ask: who the hell is Colonel Charles Young? Why would this young Afro-American be writing a poem about him? I need to tell you a story.

It starts in 1865. The American Civil War is raging. An enslaved Black man in Kentucky, Gabriel Young, escapes to Ohio leaving his wife and one-year-old son in order to join the Union army. After the end of the war, Gabriel uses his veterans’ pension to buy some land and a house for his young family. That toddler grows up to be a very sharp student, graduating first in his class in his high school. Perhaps thinking of the way his father had used military service to advance himself, that young man, Charles Young, decides to enter the U. S. Army military academy at West Point in 1884.

To say the least this was not an established path for an Afro-American in 1884. Indeed, Charles Young was only the second Afro-American to attend, and the first had entered only the year before and would become Young’s roommate at the school. The Academy had a well-established culture of hazing and a peer-discipline system based on fellow students issuing demerits on their own initiative. These pioneering Black students where therefore subject to every racist and discriminatory action the white student body could generate, and it was all so-easily cloakable as “tradition.”

Young persevered through all that, graduated, and was given his commission as a second lieutenant. He began his career in the still segregated U. S. Army in Nebraska and Utah with an Afro-American cavalry regiment. In 1894 he was assigned to Wilberforce College back in Ohio where he established the military services department at that historically Black college. He left there to serve during the Spanish American War of 1898, commanding a Black regiment in that conflict. After that war his military career took him to various assignments, including a time as the Superintendent of Sequoia National Park, various overseas assignments with Military Intelligence working at American embassies, and even a gun battle during the Pancho Villa expedition into Mexico in 1916. By this point he had risen to become the Colonel Charles Young of Cullen’s poem’s title.

And this brought upon the most remarkable event of his career as the United States entered WWI the following year. As the U.S. mobilized rapidly to enter the war, a veteran officer with war and foreign experience like Young should have been a prime resource. A white officer with a similar resume would have been rapidly promoted to general and put in charge of one of the regiments of the newly created expeditionary force. But this situation pointed out a problem with a segregated Army: there was no way to do that without making an Afro-American the out-ranking commander of some white soldiers. If there’s one thing white supremacists can’t account for it’s that, just maybe, there might be some Black folks with every demonstrated reason to out-rank them. Drives them nuts.

The Army decided to “solve” this problem by pulling Young from active duty, declaring him unfit for the war due to high blood pressure. Young attempted to refute that claim by riding on horseback from Wilberforce college in Ohio to Washington D. C., but less than a week after he arrived, the Armistice was signed to end WWI.

Charles Young at Fort Des Moines

Colonel Charles Young at Fort Des Moines in Iowa, which was a leading training center for Black troops during WWI.

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Young was returned to active duty however, and he died in 1921 while serving overseas with Military Intelligence in Nigeria. He was buried with military honors at Arlington cemetery, and thus we have the grave that Cullen would use as the scene for his poem.

So now that you know this as you read the text of this poem, or hear Cullen’s references to Young’s career in my performance, you should have a sense of its full import, one that should inform you as we celebrate Black History Month. Charles Young gave his full measure of service to America even if America gave him back something less than that. This is an example of what history is about. You may feel anger, puzzlement, gratitude, regret, or admiration at Young’s life. It might be most appropriate to feel all of those things. One task for poets and singers, from Homer to Countee Cullen, and onto you or me, is to be the trees with tongues to tell that Cullen ends his poem with.

The player gadget to hear my performance of Countee Cullen’s “In Memory of Colonel Charles Young”  is below. If you don’t see a player to click on, you can also click on this highlighted hyperlink to play the performance.

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*There’s nothing untoward about that categorization. Odd as it seems to think of these men and women who I think of as of my grandparents’ generation as ‘youth,”  Countee Cullen was just 22 in 1925, the exact same age as our recent Inaugural poet Amanda Gorman is today.

The Sky Is Low

~ Frank Hudson ~ 2 Comments

This little poem by Emily Dickinson seems at first so slight, little more than a tiny winter nature lyric using the risky literary trope of the pathetic fallacy* deftly enough that it doesn’t cloy. The language is almost entirely simple and plain-spoken, but in such a short poem the words that aren’t entirely clear may reward further attention.

The Sky is low manuscript

Dickinson’s handwritten manuscript for today’s poem from the collection of Amherst College.

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The Imagists that came decades after Dickinson’s work weren’t much for the pathetic fallacy, but if one ignores that element— something possible to do because it’s so swift and unpretentious about it — this poem does work like an Imagist poem or like one of the models Imagism sought to emulate, the classical Chinese short poem.

Let’s start right at the first line, and the first word that requires some figuring out. “The sky is low, the clouds are mean” sets our stage. A “low sky” and “clouds” would indicate that this poem’s day-moment is overcast, but what does “mean” mean? It would be easy to think it’s saying, pathetic-fallacy-wise, that the clouds seem angry and spiteful. I think many modern readers will hear this sense primarily, and I cannot eliminate that Dickinson intended that at least as an undercurrent, as it seems a pair with the complaining wind we meet in the second stanza. Yet, in the context of the sentence that makes up the first stanza, my best thought is that she is presenting the clouds as a secondary definition of “mean” (now somewhat obsolete) as shabby or stingy. The image she’s setting up is that it’s overcast, but it’s not a snowstorm, there’s only a modicum of that mentioned: a specifically singular “flake of snow,” so that may be all these clouds are producing.

Our snowflake does have feelings. From its actions, aflutter in the wind and singular enough for the eye to want to follow it as an individual, it seems indecisive about what route to take over the landscape. It might fly high (“across a barn”) or low “through a rut.” It’s frozen (sorry, can’t help myself) in a moment in the poem and we never find out. In its concise way, Dickinson’s snowflake is like Robert Frost’s chiding portrait of his friend Edward Thomas: two possible roads, and the snowflake thinks it’s important to choose one.

The pathetic fallacy gets stronger as the second stanza begins. A cool or cold gusty wind is presented as if it’s complaining for hours on end. For an old/weak bicyclist like myself who tires of headwinds that seem to always be in my face no matter that one has changed direction, this is an ascribing of malice and forethought that I can appreciate. If you look at Dickinson’s own manuscript, you can see that she considered using a legalistic term**  “some parties,” but “some one” seems the broader and better choice. Here, in a different aspect from the snowflake who thinks it has at least a binary choice, it appears the wind is saying it’s been diverted or prevented from something.

In this small poem’s presentation, these two things are joined. The snowflake thinks it can decide, but we know the wind will send it where it directs, but the wind thinks it has been in someway enjoined. Pathetic fallacy aside, it cannot choose, meteorological forces and barometric lines will send it where they will.

In the last two lines, Dickinson doesn’t tell us how it comes out — she refuses to leave her poem’s lyric moment. Her final line brings one more uncommon word choice. It has it that “Nature, like us, is sometimes caught/Without her diadem.” A diadem is a ruler’s crown, worn to signify that the wearer, well, rules, decides. Once more, the pathetic fallacy is invoked: nature is the decider, but for the poem’s moment they have momentarily forgotten to put on the device that lets them take on that power — but in a tiny aside (“like us”) Emily Dickinson says we actual humans, who can actually think, feel, decide are sometimes also in this situation, we may blithely follow what seems like a free will choice or complain that we are forced into our directions. Which is it, really? Did you forget your diadem?

Read this poem, or many an early Imagist poem or classical Chinese poem, and it may seem a miniature painting of a mundane scene. We may be charmed briefly, or we may think, “Oh, that’s too slight to be a thoughtful poem.” Did Dickinson consciously or unconsciously intend what I see here? The number of times she was able to pull off effects like this poem can produce, and the subsidiary writings demonstrating how she thought***  indicate that even if she didn’t consciously work out the complexities underneath her simplicities in some grand and lengthy inner symposium, she put herself in the place where she could receive and express these charged moments.

As usual, I’m going to perform “The Sky Is Low”  with some original music. The player gadget should be below, but some blog reading software won’t show it. If so, this highlighted hyperlink will also play my musical performance.

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*The pathetic fallacy is the tactic of ascribing human emotions and thought to inanimate objects or forces. Despite the literal words of this poem, it’s not debatable that snow does that, and the wind doesn’t really have some angry dispute.

**I’m not sure how many scholars have considered that Dickinson grew up in a family of lawyers, and even though as a woman that field was not open to her, it’s likely that some of that was picked up by her avid mind.

***Long footnote ahead! What can we gather from how Dickinson used this poem that might indicate how she considered it? This poem was “published” in a personal letter to the wife of a couple that were long-time friends of Emily. The husband in the couple was Josiah Holland, a medical doctor and lay preacher. By the time this poem was written in 1866, Josiah had become a well-known journalist, lecturer, poet, and author. He was a principal in the Springfield Republican  newspaper which famously published seven of Dickinson’s poems during her lifetime. He had just published one of the first full-length biographies of Abe Lincoln, and would a few years later found and become the first editor of Scribner’s Monthly.  His wife, to whom the letter with the poem was addressed, Elizabeth Holland, has no known literary work — but read the letter by following this link.  Here one may get the sense of how another important literary personage who Emily Dickinson interacted with, the formidable Thomas Higginson, remarked about how Dickinson wore him out. The amount of philosophical legerdemain, reference, and zen parable in this short letter is striking to me. Did Dickinson expect Elizabeth Holland to understand that letter?

Emily Dickinson’s correspondence and friendship with the Holland couple seems to have been one of the most stable and ongoing in her life, equal to those who were Dickinson’s blood relatives. Whatever bonds were between them, this letter shows the expectation of considerable intellectual understanding, and for “The Sky is Low”  to be enclosed indicates that Dickinson had goals beyond the simplistic for it.

William Carlos Williams’ January

~ Frank Hudson ~ 1 Comment

Recently I mentioned I might return to the Modernists of 100 years ago who inspired a lot of the material I’ve used here over the years. And indeed, I read two early William Carlos Williams collections early this new year looking for material as I prepared to do that.

And then, as a novel from 1925 warned: “Somewhere back in the vast obscurity beyond the city, where the dark fields of the republic rolled on under the night….” and we’re borne ceaselessly into Make the Confederacy Great Again. Doomscrolling overcame me, and my concentration scattered without need for pepper spray. Unlike some others this week, I don’t want to play-act armed revolution — and despite the abundant wrongs and injustices of my government, I’m not even enthusiastic about the real thing. If I can’t bear up under the tedium of actual politics and its incremental proposed solutions, why then must it follow I would want the excitement of the barricades?

I had to sidestep new pieces for a while. Yesterday I was granted a few hours in which I might work on them, and so I felt compelled to return to what I had thought of using for the new year, and this poem from American Modernist poet William Carlos Williams was on the top of the stack. It’s called “January,”  and it was published 100 years ago this year.

Young Wiliam Carlos Williams

As to doomscrolling vs. poetry, Williams said: “It is difficult to get the news from poems, yet men die miserably every day for lack of what is found there.”

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By some caprice of the muses, this century-old “January”  seems to address my situation in this one. Williams speaks of the distractions outside himself as he continues to write, and to winter’s “derisive music” he replies he’s still “bound to my sentences.” I can’t be sure what specifically inspired this poem. Williams could simply be sick of winter, that season that litters itself all over the landscape and then freezes itself in place. Or it could be speaking of his place in the Modernist movement, which was gaining traction culturally while (in Williams’ judgement) it wasn’t recognizing his part in it sufficiently.*

For our own arts, that’s an indispensable act for us: to stay committed to our work. Beside the world’s events that tell me that what art does is not quick acting enough to serve as a vaccine for our society, beside doubts that I should be better at what I do before presenting it, beside my own particular guilts that I should spend less time doing these things and more at promoting it, there’s no work to fail or be ignored unless one does one’s work.

I had to work quickly on the music, relying on some things that have become stylistic standbys for me in this Project: bowed strings (contra-bass this time), electric piano, electric guitar, and drums. In his poem, Williams develops the idea that the distracting winter wind is playing music to interrupt his own word-music. He describes this music as featuring the chromatic scale interval of the fifth. Reading the silent poem, you might think he’s talking about a dissonant interval since he also says twice the winds’ music is “derisive.” But the fifth is instead a sweet interval, even if one plays minors or major scales against it or piles on fuzzy overtone-rich distortion. From a musical perspective, I’m thinking Williams is saying that even the winter winds are not as cutting, honest, and to-the-bone as he wants to write. They’re derisive because they are merely sweet.

The player gadget to hear my performance of Williams’ “January”  should be below, but if you don’t see it, this highlighted hyperlink is another way to play the musical piece. If you’d like to read the full text of the 1921 poem, this is a link to that.

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*The collection this poem appeared in was titled Sour Grapes.  Williams thought — and some later critics began to agree with him — that American cultural critics were more enamored of WASP writers and overly eager to establish their own Ivy League version of the Oxford-Cambridge hierarchy for poets and poetry. Williams’ father was raised in the Dominican Republic and his mother was from Puerto Rico. Now of course, both Williams and some guy named Trump both went to the University of Pennsylvania, which is officially in the Ivy League. While Williams did post-graduate travel and work in Europe too, unlike some other American Modernists he was committed to making his poetry speak in, and to, an American way.

Shakespeare’s Sonnet 97 “How like a Winter hath my absence been”

~ Frank Hudson ~ Leave a comment

What with Longfellow last time and Shakespeare this time, I’m thinking I’ll return soon to some of the more surreal and avant garde 20th century authors whose work has entered the public domain. That would be the New Year’s thing to do — but then once one penetrates the archaic language of this old sonnet, it gets plenty weird.

Sonnet_97_1609

How this poem looked in 1609. I note that most versions of this poem I find online replace the question marks in the opening sentences with exclamation points. I wonder why?

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How many come here, perhaps via a web search for help in figuring out what some hard-to-understand poem might be on about? Well, here’s the usual “homework helper” summary of Sonnet 97:

The clever bi-amorous poet character* in the sonnet starts out bewailing that it’s winter and he’s away from his beloved. But wait, a few lines in, it’s summer, or maybe autumn harvest time, but the poet started out talking as if it’s wintertime because he misses the beloved so much and that makes it seem as bad as winter.

There you go, a greeting-card worthy poem when reduced to that meaning: “Miss you so much, summer’s like winter because of that.”

But all that ignores the strangeness of it. Don’t put this in your school work if you have a conventional teacher only looking to see that you’ve taken the effort to decode Elizabethan English,**  but is it just possible that the poem is really written in wintertime, or that the portrayed states of winter and summer in this poem are not actual, look-at-the-calendar fact? ***

That supposition that this poem is actually set in summer (or maybe autumn) has to be vague, because the statements about seasons in the poem are spread between four seasons: winter, summer, harvest-time and then near-winter fall — but the actual imagery Shakespeare goes with is much more at pregnancy**** and birth, and he’s not subtle about it at all, working a number of angles on that idea, and with a specifically  patriarchal slant on pregnancy.

Here’s what he says about what his state and season is in this poem: “teeming” (breeding with no concern of to excess), “increase,” “bearing” (and wanton at that), “burthen” (an archaic term that puns on birth, and was used for cargo in a ship’s hold, which the poem notes is owned by the principle, the prime, of the shipping company who has in that way impregnated the cargo), and outright “wombs,” “issue” (a legal term for children), and “orphans” (children again, though patriarchally, orphans from loss of just the father) and “un-fathered fruit” (from what little I know of horticulture and pollination, possible — but in this context, more orphan or bastard status being inferred). Shakespeare doesn’t really care to nail down if it’s summer or harvest because it’s not a calendar season he’s depicting. He’s been impregnated, and magically given birth perhaps more than once from this impregnation.

Now in terms of gender fluidity (no snickering in the back row — and Ms. Rowling, no passing notes you can’t share with the rest of the class) this is outrageous imagery, and something that I’ve seen no other reading of the poem address, though it seems to me overt enough that someone must have noticed it.

What is his point? What’s he getting at? I think the “issue,” the “orphans,” are the poet’s poems, even including this sonnet itself. His beloved is absent, so he shouldn’t be productive (maybe even an undercurrent here of infidelity or artistic parthenogenesis) and at least for the purposes of this poem he is exaggerating the patriarchal attitude that the father (not our fecund womb-bearing poet) owns the children, or if there be “issue” that isn’t his, they aren’t worthy.

There’s also a potential class layer here too, isn’t there. If the “Fair Youth” addressed in this and other sonnets is indeed a titled patron, that purported “only begetter” may be a fancy whose sexual politics shouldn’t be overlooked.

In that reading, it may really be winter outside, as on this late December day in my state it certainly is. And there may be a longing for an absent beloved, but the poet is writing the winter, writing the separation, teeming. I think Shakespeare may be playing with that claim that poetry without a patriarchal father is a dull song and illegitimate. As for us, we should write down our dark verse on the pale leaves of winter, and may you find pleasure in your own ever-fleeting year!

To hear my musical performance of Shakespeare’s Sonnet 97, “How like a Winter hath my absence been,”   you can use the player gadget below or this highlighted hyperlink that will also play it.

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*Modern scholarship has generally come down on the side of thinking that Shakespeare’s sonnets are an invented work, using and playing changes on conventions of Renaissance sonnet topics and plot lines. But the desire to know “the real Shakespeare” still leads a great many to comment on what these poems, seemingly intimate and confessional, say about the person who wrote them. I’m going to write as if the poem is Shakespeare speaking as himself for simplicities sake, as writing “the character of the poet who is writing this poem” is too awkward to keep repeating.

**I wonder how many immigrant and Afro-American students realize that they have a possible advantage in appreciating and interpreting the archaic English of Shakespeare’s time in that they already have a contemporarily developed and working code-switch skill regarding language.

***When I first read this poem I thought of the Twilight Zone episode “The Midnight Sun”  in which (spoiler alert) two women are approaching death on an Earth that is growing ever hotter, only to have the twist ending be that it’s a near-death fantasy of our heroine on a planet that is instead growing ever colder.

****Human pregnancy having a 9 month term could account for some of the seasonal ambiguity and the poem not being clear about it being winter, summer, harvest mid-autumn or near winter/late fall.