First Sunday in Advent Non-Random Song: “Lo! he comes, with clouds descending”


The Episcopal Hymnal includes two musical settings for this Advent hymn written by John Cennick with later edits by Charles Wesley. My favorite is the one we sang in church this morning, the tune “Helmsley” by their 18th-century contemporary Martin Madan. It has a memorable complexity yet every phrase resolves in a way that makes sense.

In fact, I find it more of an unmitigated pleasure than the words, some of which can be troubling to a modern ear. I’m not so PC as to purge the worship service of all martial references. In my opinion, the Christian imagination needs both masculine and feminine moods, both the appealing vision of peace and the recognition that justice requires struggle.

However, I suspect there’s a veiled anti-Jewish polemic in the second verse: “those who set at nought and sold him….deeply wailing, shall the true Messiah see”.

When we sang these words today, I did some creative updating in my mind, recasting “those” as my fellow Christians who persecute others in Jesus’ name, profiting from hate. I’m still not sure that this is a completely skillful sentiment to indulge in, but as compared to the original interfaith hostility, it has the advantage of reminding us that we shouldn’t take Jesus’ approval for granted simply because we invoke his name.

Sing along (if you dare) at Oremus Hymnal.

****

Lo! he comes, with clouds descending,
once for our salvation slain;
thousand thousand saints attending
swell the triumph of his train:
Alleluia! alleluia! alleluia!
Christ the Lord returns to reign.

Every eye shall now behold him,
robed in dreadful majesty;
those who set at nought and sold him,
pierced, and nailed him to the tree,
deeply wailing, deeply wailing, deeply wailing,
shall the true Messiah see.

Those dear tokens of his passion
still his dazzling body bears,
cause of endless exultation
to his ransomed worshipers;
with what rapture, with what rapture, with what rapture
gaze we on those glorious scars!

Now redemption, long expected,
see in solemn pomp appear;
all his saints, by man rejected,
now shall meet him in the air:
Alleluia! alleluia! alleluia!
See the day of God appear!

Yea, amen! let all adore thee,
high on thine eternal throne;
Savior, take the power and glory;
claim the kingdom for thine own:
Alleluia! alleluia! alleluia!
Thou shalt reign, and thou alone.

Two Poems by Temple Cone


A sacred quiet permeates Temple Cone’s debut poetry collection, No Loneliness, winner of the 2009 FutureCycle Poetry Book Prize. Abandoned barns are Cone’s churches; the steady rhythms of farm work, his liturgy. The birth of a daughter is both miracle and memento mori, a sweet paradox held together in an extended lyric poem that envisions poetry as a transmission of love across generations.

Temple has kindly given me permission to reprint these poems from his book. I had a hard time choosing just two favorites.

Mercy

Leaner than the gray French lops
I’d raised as a boy, the wild hare
I held in the August heat
was speckled yellow and brown
as old sandpaper, his pelt
worn to cussedness.
He lay twitching on asphalt
a minute after I swerved
and still hit him.
            I watched
his crazy dance to see
if he would rise, then gathered him,
trembling, into my arms,
one hand on his feather-quill ribs,
the other cupping soft neck.
Dumb luck, this. His eyes lolled
skyward, showed me
what to do. I whispered
some nonsense under my breath,
words to calm one of us.
The sparrow heart drummed in my palm.
I hadn’t forgotten how
to end life, could feel the old fracture
of knowledge in my bones.
So when he sprang free,
bounding to a roadside hedge,
I knelt down in the dust,
gaping at my torn shirt, marked skin,
stunned by how quickly
mercy could break from my hands.

****

  Bluesman

After his first descent to the underworld,
Orpheus didn’t die. The Maenads never tore him
apart like an offering of bread,
and the story of his head, singing
as the river bore it downstream to ocean,
is someone’s hopeful indulgence
in the persistence of song.
            What happened
to Orpheus happens to us all.
He wept. He cursed the animals who came
to comfort him, till the woods were silent.
In Thebes, he sold his lyre
and stayed drunk for days.
But the world doesn’t stop for myths,
so when the drachmas ran out, he found work
as a gardener. Kneeling hours in the dirt,
he’d talk to trellised morning-glories,
to the crocus and the daisies.
Of course, in time, he began to sing instead,
softly, and without knowing it.
The persistence of song. Then one day
he noticed the flowers following him
wherever he walked, and when he looked,
they didn’t turn away.

Two Poems by Ruth Sabath Rosenthal


Ruth Sabath Rosenthal’s poetry chapbook Facing Home has just been released by Finishing Line Press. As the title suggests, these frank and emotionally charged poems are about facing memories of the home we grew up in, as well as the homes that we as adults have made, broken, and re-formed. Rosenthal’s accessible writing style balances humor, anger, and compassion. She employs enough specific details from her own life to make the memories feel real, while staying focused on universal themes that will resonate with many readers. Some of her strongest work is about the complex feelings involved in caring for elderly parents who were emotionally unavailable to her as a child.

I chose the poems below for reprinting, with her permission. The extended metaphor of the porcupine is clever in its own right, but gains additional significance in the context of the more straightforwardly autobiographical poems–a sign of a well-constructed collection. As for “Zinnias”, I loved how she made the colors and textures of the scene come to life. My grandmother also slipcovered the good furniture in her Lower East Side apartment, and she also had a canary who died prematurely from the heat of the kitchen, though it wasn’t for lack of love–I’m told she let the little fellow fly all around the house, pooping where he wished!

Contemplating Caring for a Porcupine

A roof over its head, easily done.
Nurturing, quite another story.

Bathing — only with a long hose.
As for mealtime — the prickly thing

jumping up and down, impatient —
what protection would repel prick of quill?

What if the rascal was inclined to make
sport of that, then hide the mischief?

Get angry and chance an antsy porcupine
turning combative? Pay dearly for that;

or, if the critter contrite, savor the moment?
Or, having fed the robust rodent,

if it yelps for more but is on a diet,
what would distract? A game

of Hide and Seek might, though if
the quill ball should turn up missing,

how to know it would fare well, and
what angst to bear if the poor thing

was found to have been the dinner
of some known predator — when

all the poor porcupine wanted was more gruel,
and all I ever wanted was to care for it?

****

I Remember the Zinnias,

autumnal hues with bee-magnet centers.
In the planting, pearls of satisfaction
beaded Mother’s cheeks, made her glow
head to toe. Each summer, till first frost,
zinnias fringed the pathway to
the side door by our kitchen.

Mother loved her zinnias, their color rich
contrast to the dusty-rose brocade sofa,
aqua cut-velvet of Father’s chair —
both bound in clear-plastic slipcovers
that, in summer, made the backs
of our thighs stick to our seats.

When her new dining set arrived, keen
to keep it pristine, Mother moved Lucky,
my beloved canary, to the kitchen, to roost
inches from pot roasts simmering, the window
nearby rarely open — and, child I was,
I didn’t protest on my bird’s behalf.

Weeks later, just back from school,
I learned that Lucky had died
and Mother had given his cage away.
She claimed to have buried him
in her tomato patch, just feet
from her prized zinnias.

Thursday Non-Random Song: “We Lift Our Hearts in Thanks Today”


This selection from NetHymnal’s list of their top 50 Thanksgiving hymns was written by Percival A. Chubb (1860-1960) with music by Praetorius (1599). Sing along here.

We lift our hearts in thanks today
For all the gifts of life;
And first, for peace that turns away
The enemies of strife;

And next, the beauty of the earth,
Its flowers and lovely things,
The spring’s great miracle of birth,
With sound of songs and wings;

Then, harvests of its teeming soil
In orchard, croft and field;
But more, the service and the toil
Of those who helped them yield;

And most, the gifts of hope and love,
Of wisdom, truth and right,
The gifts that shine like stars above
To chart the world by night.

As we receive, so let us give,
With ready, generous hand,
Rich fruitage from the lives we live
To bless our home and land.

A Psalm by Lakota Chief Yellow Lark (1887)


For the past few years, our church youth group has made an annual pilgrimage to the Borderlands Education and Spiritual Center in the Black Hills of South Dakota. Along with hikes and ceremonies to help them encounter God in nature, the teens learn about Christian settlers’ oppression of the Native Americans, and potential spiritual common ground between the two cultures today.

Last week we heard about their transformative journey in a Sunday morning service that incorporated Lakota music and prayers. This poem was read in place of a psalm. I particularly like how it strikes a balance between personal tranquility and concern for the wider world (“help me find compassion without empathy overwhelming me”).

Oh, Great Spirit, whose voice I hear in the winds.
And whose breath gives life to all the world.
Hear me! I am small and weak.
I need your strength and wisdom.
Let me walk in beauty, and make my eyes
Ever hold the red and purple sunset.
Make my hands respect the things you have made.
My ears sharp to hear your voice.
Make me wise so that I may understand
The things you might teach me.
Let me learn the lessons you have hidden
In every leaf and rock.
I seek strength, not to be greater than my brother.
But to fight my greatest enemy, myself.
Make me always ready to come to you
With clear hands and straight eyes.
So when life fades, as the fading sunset.
My spirit may come to you without shame.

The Episcopal

Peter Damian Bellis: “God’s Anvil”


While we were corresponding about a promotional campaign for his new novel, The Conjure Man, author Peter Damian Bellis shared some of his evocative, earthy poems with me. He’s kindly given me permission to reprint “God’s Anvil” below. I loved the idea that God might do His transforming work through something more grounded and physical, and less glamorous, than the “sweltering winds of my beliefs”.

God’s Anvil

Today I am spread thin across God’s anvil,
my soul withering in the bellows of his breath,
my body melting, merging, the dust of
my purpose mixing with the desert of
my hope until I am one of the many
obsidian-like shards half-buried, hiltless,
in the blood-dry carcass of this once fertile,
crescent earth, mirror to the shimmering,
sweltering winds of my beliefs, yet also the dark-
heaving ripple of the camels as they settle
into the sand, indifferent, unimpatient,
unwashed, impervious; and the stench of their
dung-heavy breath washes clean this mirror,
leaving now a cloudless, distant, sheltering sky.

River Boat Books, publisher of The Conjure Man, is offering a contest with good-sized cash prizes for essays responding to Bellis’ novel. Check it out here.

Eric Weinstein: “Persistence of Memory”


Eric Weinstein’s poetry chapbook Vivisection won the 2010 New Michigan Press/DIAGRAM Chapbook Contest. The sample poem below is reprinted by permission from Issue 10.5 of DIAGRAM, a quirky multimedia online journal that features poetry, flash prose, and cross-genre work along with peculiar diagrams found in obscure reference books. (The current issue, for example, features a selection from a handbook with the frighteningly optimistic title Anyone Can Intubate.) Read more of Weinstein’s work here.

Persistence of Memory

You bury a light bulb in the yard
& grow a blown glass tree.

It’s all your parents talk about
for hours after you’ve gone to sleep.

By morning the branches are hung
with tungsten leaves. The neighbors

complain because it attracts lightning,
even though it glows like an echo-

cardiogram for hours after each strike.
You are asleep when your father rakes

a chainsaw across the trunk, but the sound
carries & you wake, you run out, shouting

I’ll never forgive you, not ever. Of course you do,
hours later. A persistent cough carries you

to the emergency room, or rather, your father does.
They remove a filament from your tongue,

a spun glass feather from your trachea.
There were never any birds, your mother says.

The fiberoptic bronchoscope proves
otherwise: they find a miniature light

bulb, glass sapling, copper wire nest
& remove them from your lung.

Imagine that, the doctors say, voices
carrying through the anesthesia.

Imagine that, your mother says, so you do,
or rather, you remember your tree.

It’s all the surgical team talks about
for hours while you’re asleep.

It’s all the surgical team talks about
for hours after you’ve gone home.

Kahlil Gibran on Death


Tonight, on Halloween, we will be in our old Victorian house by the graveyard, luring little children with candy so we can put them to work doing Winning Writers tech support. Maybe we’ll even watch “Rocky Horror” on Netflix, because we’re too Brad-and-Janet to go to the theater with all those icky people throwing toast.

Humor, masquerade, song — these things help us face death and even celebrate it (with fingers crossed). All Hallows’ Eve, and tomorrow’s All Saints’ Day, are times when we can throw off the stifling solemnity of grief, but opt for something a little darker and truer than sentimental consolation.

In memory of our friend, Roc Ahrensdorf, who died of cancer this summer at age 57, I’d like to share these reflections from Kahlil Gibran.

You would know the secret of death.
But how shall you find it unless you seek it in the heart of life?
The owl whose night-bound eyes are blind unto the day cannot unveil the mystery of light.
If you would indeed behold the spirit of death, open your heart wide unto the body of life.
For life and death are one, even as the river and the sea are one.

In the depth of your hopes and desires lies your silent knowledge of the beyond;
And like seeds dreaming beneath the snow your heart dreams of spring.
Trust the dreams, for in them is hidden the gate to eternity.
Your fear of death is but the trembling of the shepherd when he stands before the king whose hand is to be laid upon him in honour.
Is the shepherd not joyful beneath his trembling, that he shall wear the mark of the king?
Yet is he not more mindful of his trembling?

For what is it to die but to stand naked in the wind and to melt into the sun?
And what is it to cease breathing, but to free the breath from its restless tides, that it may rise and expand and seek God unencumbered?

Only when you drink from the river of silence shall you indeed sing.
And when you have reached the mountain top, then you shall begin to climb.
And when the earth shall claim your limbs, then shall you truly dance.

Roc working on our house, April 2008

Norbert Hirschhorn: “Lifeline in Thirty-Eight Stations”


Norbert Hirschhorn is a poet and medical doctor living in England. His poem “Lifeline in Thirty-Eight Stations” won first prize in the 2010 Poetry Kit Poetry Competition. We reprinted it this month in the Winning Writers newsletter and I enjoyed it so much that I wanted to share it here on the blog, with his permission. I grew up on New York’s Lower East Side. a historic neighborhood of Jewish immigrants, so this poem brought back a lot of memories of Manhattan’s gritty, vibrant, multiethnic life.

Lifeline in Thirty-Eight Stations

(A Metro-poem, after Jacques Jouet, Oulipo)

242nd Street 12:40 pm.   Open-air northern terminal of Mannahatta, Lenni-Lenape word, meaning “Rocky Place”. The #1 Broadway, 7th Avenue local, the good old IRT, from Van Cortland Park and the Bronx Zoo (where once a caged lion turned his back and arced his pungent piss on me) down to South Ferry.

238th Street    Train yard, resting cars, high-rise apartments nestling on Algonquin burial mounds.

231st Street    Young men in grunge eat hamburgers, french fries from paper bags. I salivate.

225th Street    Riverdale, and high school sweetie Marion Kane kissing with her mouth closed. Razor-wire loops on all rooftops.

215th Street    Spuyten Duyvil, Dutch: “Spitting Devil”, traversing the coupling of waters, Harlem to Hudson.

207th Street    White people, black people, brown, a Tibetan monk; ten-second stop but no one gets on.

200th Street    Dyckman. Fort Tryon Park on Manhattan’s bluffs where oilman John D. assembled a medieval cloister scavenged from France.

191st Street    Underground! The station a tomb, we sail through, a cortege, a ghost-ship; Charon wears a hard hat.

181st Street    Washington Heights. Rats, homeless men bunking in dark recesses between stations. Walks across George Washington Bridge, one foot in New Jersey, one foot in New York, on Shabbos.

168th Street    Memories! I went to medical school here, Columbia. I once jumped into the train track pit and almost couldn’t climb back up. Mother almost died here. Audubon Ballroom, Malcolm X assassinated.

157th Street    Memories! I grew up here. I knew every alley, backyard, basement, rooftop; every hand-hold in the rocks; every crazy pavement; boxball, curbball, stickball, “spaldeens” down the sewer.

145th Street    Like an airlock: not quite home, not quite not home.

137th Street    Music & Art High School, City College. My sister went to both, her memories—another universe.

125th Street    Daylight. Harlem. Harlem River to the left, Hudson to the right, New Jersey Palisades, visions of the old amusement park, neon lights quickening the river.
I never got off at 125th Street.

116th Street    Underneath again. Columbia, my college, the happiest unhappy time of my life.

110th Street    Cathedral of St. John the Divine, I made love in its shadow. I realize something:
no one drop-dead lovely ever rides the subway.

103rd Street    What? I’ve dozed off, lost track. Where did 103rd Street go?

96th Street    People eat, drink, read, think, sleep, emerge from cocoons only to get off.

86th Street    I’m exhausted. New York is exhausting. I can’t write so fast, the door closes like a guillotine, “No! Wait!”

79th Street    Upper West Side where fine Jews live. Zabar’s, Fairway Market, first cold-pressed extra virgin olive oil, six dollars a quart.

72nd Street    Riverside Drive starts here, the old West Side Highway, the old Viennese pastry shop where every Saturday my father met other survivors.

66th Street    A #2 express train glides past, or we’re moving backwards. I look into its windows, people in an alternate universe, perhaps I’ll see myself.

59th Street    Central Park, The Plaza (“Eloise”). Across from me, New York Post front page: “Millionaire X-dresser Chopped Up His Boyfriend’s Body. Bobby, Where’s The Head?”

50th Street    The pretty Latina looks at me. Does she know what I’m doing? I look at her. Do I know what I’m doing?

42nd Street    Cliché station, anus mundi, “Change here for the Shuttle, the A, C, D, Q, W, and R. Stand clear of the closing doors please. STAND CLEAR.” Who remembers an all-night hot dogs and knish stand? Blue balls at 3am.

34th Street    Penn Station! (“Lead us not into…”) Careless: the old one torn down while Caracalla remains. Careless: I rid myself of a wife.

28th Street    Mexican guitar trio, “buskeros”, hop on, sing a song, take money, run. Down here not sunny.

23rd Street    Nothing clever to say. Good. Shuddupaminute.

18th Street    Garment district where one summer I shlepped sample bags for a fat-ass shmatta salesman.

14th Street    Walk east to Union Square, my first pair of long pants at S. Klein-on-the-Square, and men megaphoned Communism.

Christopher Street, Sheridan Square    They called the school “NY Jew”. Greenwich Village, I heard Ted Joans at Village Vanguard recite Beat and Africa. Ted Joans, the poet, is dead. Amato free opera, my first margaritas, Ted Joans is dead. Fifty years later I read my own poems at the Cornelia Street Café.

Houston Street    Call it HOW-ston, land of Katz’s Delicatessen: “Send a salami to your boy in the AH-me”; Yonah Shimmel’s one hundred year old knisheria. Every Sunday: pastrami on rye washed down by Dr. Brown’s Cel-Ray Tonic. Tea in a glass (“Nu, vat den, in a pail?”) My father’s day off.

Canal Street    SOHO = SOuth of HOw-ston, once paddled by the Lenni-Lenape.

Franklin Street    Old warehouse district, now condominiums, John Kennedy Jr., R.I.P. TRIBECA, TRI-angle BE-low CA-nal.

Chambers Street    One stop from the World Trade Center at sealed up Cortland Street station.

Cortland Street

Rector Street    Still thinking about this inconstant world; but you know, we’re eager for change, something, like Cavafy’s Barbarians: “They were, those people, a kind of solution.”

South Ferry 1:34 pm.   Ferry to the Statue of Liberty, Emma Lazarus, “Give me your tired, your poor…” Ferry to Staten Island, once the cheapest date in New York, nickel each way. I landed here in December 1944, Jewish, refugee, age six. Only the first five cars open doors on the foreshortened platform and I’m in car seven, sealed in. But it’s okay, it’s okay, just another terminal.

Sabine Huynh: “Weaning” and “On Different Time Planes”


Sabine Huynh is a poet, novelist, linguistics scholar, and literary translator. Born in Saigon in 1972, she was raised in France and has lived in England, Israel, the US, and Canada. Her work came to my attention through Helen Bar-Lev, co-editor of the Israeli literary journal Cyclamens and Swords, where these two poems first appeared. Reprinted by permission.

Weaning

It’s in hunger
that I write best
about you, mother
when you don’t look
above my shoulder
presentable you are absent
or else you appear
your mad gaze searching
for my readiness to admire
but I was not born
to approve of you, mother.

It’s in hunger
that I remember best
how your love lacked
milk, mother
my mother so called
my property, so proper
beautifully groomed girl
who eyed my teacher after
school hoping he would think
I was your sister
or even your mother.

It’s in hunger
that you wove best
mother, I wish you were
an otter, short-legged
mustached, anything but
this sleek hysterical hyena
who couldn’t swim
only catwalked, no fish
remains for me
you relinquished mother
masked my pleas with a hood.

It’s in hunger you taught me
that less is best
how to sever
love for ever.

(published in Cyclamens and Swords, July 2008)

****

On different time planes

For a week I went to bed
knowing she’d called
forgetting she’d left
her voice in that space
between us.

“I’m calling randomly
not knowing the time difference
ignoring where you are.”

When I was ten you bought me a piano
you played it so well
while what I wanted the most
was an old bicycle
like my brothers’.

Did you know that
the dog you got yourself
dressed up and never fed
became my best friend?

Every night I brushed off
from your broken veins and split ends
burning lies, diamonds, and secrets
that tripped me off in my sleep.

(published in Cyclamens and Swords, April 2010)