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pull and push

[reviews]Reflections on Wendell Berry's poem "Stay Home"

 

One book that often washes up at the edge of my nightstand is Locales, a poetry anthology by members of the Fellowship of Southern Writers. Locales introduced me to Wendell Berry and his poem "Stay Home." I can't get over it right now.

The speaker is at home "In the labor of the fields / longer than a man's life..."

I want to be at home that way. I want to wait with Berry "...here in the fields / to see how well the rain / brings on the grass." Berry gazes quietly, his Jeffersonian face resting on his hands that cap his hoe, and I hop up and down beside him, tugging on a turned-up cuff.

Berry's poetic voice is deep and resonant, like the voices that read Lincoln's words in the documentaries. Berry's poetry is also deceptively simple, like Lincoln's best lines.

Part of Berry's resonance comes from his decision to live his lines. In the early 1960's, Berry gave up his teaching position at New York University to farm and teach in Henry County, Kentucky, where his family had farmed for over 150 years. His discussion of environmental issues in Christian terms makes him a forerunner of the Evangelical Church's nascent environmental movement. In 1999, Berry won the Thomas Merton Award, which is given annually to "national and international individuals struggling for justice." He has written over forty books from his farm, and he has won several awards for his poetry.

Much of Berry's life and work is an argument for something like an agrarian society, and he is a leader in the environmental movement in his own way. He is not one to mobilize or to run a movement, though. Berry is more comfortable instructing through his poetry, essays, and fiction and leading by example. Berry has a penchant for personal acts of resistance that has frustrated allies over the years who prefer more traditional and robust leadership. For example, in "February 2, 1968," a poem about the Vietnam War, Berry writes: "...war spreading, families dying, the world in danger, / I walk the rocky hillside, sowing clover." Like Hardy's nameless farmer in time of "The Breaking of Nations," Berry is "Only a man harrowing clods / In a slow silent walk..."

"Stay Home" pulls me into the fields and woods that Berry values so highly. It also led me to find out more about him. In turn, finding out more about him made me want to make a pilgrimage to Kentucky to tug on Berry's cuffs - to meet a man who answered a call.

I didn't do it. The poem is called "Stay Home," right? And as much as "Stay Home" pulls me, it also pushes me away. Both of the poem's stanzas end with "Don't come with me. / You stay home too." Berry's lines suggest that, as important as Berry's work may seem to me, something like mental assent - or membership in a movement - isn't much of a response. I also have to stay home in some sense.

A writer is a host. I may share her beliefs and aspire to her sensibilities, but I may not call her imagination my home. By the end of the book, if not sooner, the pull always turns into a push.

Good writers of place - people that write about their home or out of the context of their home - are also travel writers in a sense. If they are home, they are home from an interesting journey, and the journey never seems to stop even when they're home. I guess mine won't, either. Much like Odysseus back home in Ithaca, I must dislodge old dreams and beliefs that I have permitted into my idea of home - suitors for my affections who have worn out their welcome.

When I had an identity crisis at the age of forty, my therapist suggested that I was beginning a spiritual journey. As corny as the phrase must sound to most people, I had never heard of it, and I found it exciting. I still do, even though I'm more at home with myself eight years later. I like the idea that any of my more comfortable sins may lead me to discover a new part of home.

Does "Stay Home" leave me at home, as it suggests? It may lead me nowhere, or, more hopefully, it may lead me to find myself nowhere. If I am not this at home - as home as Berry's pleasingly simple lines suggest is possible - then I am not at home. I must shove off with thousands in literature and life who have come to grips with their poor moorings. I must not insist on seeing the voyage as a pilgrimage, since I seek myself first of all, or as a flight to a conference with an expense account. Like Odysseus, I must be willing to lose my ships and stores and my companions on my journey. I must be willing to spend years going just a few miles. I must let the voyage overtake me and drag me in its wake.

I must take every push and remember the pull. As Odysseus says on the eve of his homecoming:

Where shall a man find sweetness to surpass
his own home and his parents? In far lands
he shall not, though he find a house of gold.

But don't come to Ithaca. You stay home too.

 

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[For more about Wendell Berry, check out this article in grist magazine and this post in Via Negativa.]

 
passages

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[tree]

the cassandra pages.

The drive west last week, across Vermont and into New York, was one of the most ethereal and beautiful trips I've ever made over that route. I traveled in silence, in the early morning, alone. The clouds still hung low over the Green Mountains, and a hazy fog persisted in the flatter pastures on the border between the two states south of Lake George - it would burn off later in the morning and expose the extreme heat we've had since. But in those early morning hours, the mountains and farmland were dreamy and quiet and empty as the space in which I was traveling.

[Here's the whole post.]


On the Slow Train.

What I had learned was folk etymology--what Wikipedia calls "A commonly held misunderstanding of the origin of a particular word, a false etymology." Folk etymologies are usually more interesting than the actual word origin. Sometimes folk etymologies can unfairly cast a bad light on some perfectly innocent words, such as picnic, or phrases such as rule of thumb. But for the most part, folk etymologies can be a lot of fun.

[Here's the whole post.]

[leaf]

Creature of the Shade.

But as soon as I asked it I knew she wouldn't be able to answer. I was looking for something like "north" or "west," but she, despite being a transport management professional, just didn't use such words to organize her sense of a city. She used words like "green building" and "flagpole." She could speak of left and right, but these narrative markers don't help you unless you're already on the right course.

[Here's the whole post.]


not native fruit.

I've just begun a new book by Susan Griffin, "Wrestling with the Angel of Democracy." So far, it lives up to Griffin's standards for exquisite reasoning and prose. She leads us through the labyrinth of her own inner experience where it meets the outer world of both history and current events. At certain points of connection with current events I remember feeling exactly what she expresses. I take it that the inference of the book's title is that, just as in the Bible story when Jacob wrestles with the angel of the Lord and will not let him go until the angel blesses him, we must now wrestle with the angel of democracy, and not let him go.

[Here's the whole post.]

[picture]

Everydayandeverynight.com.

I'm launching my journal again for 5768/2008.

In this omer journal, I take a Jewish-mythic point-of-view which presumes that I, personally, together with all Jews past, present and future, left Egypt and stood at Mt. Sinai together. This perspective challenges each Jew to join the Jewish experience and not be limited by the actual historical time period in which one lives. This perspective places human imagination at the center of religious engagement.

Our leaving Egypt is only the beginning of our path to liberation. Free from the bonds of Pharaoh, we seek a better, more human life. We begin this journey by the shores of the Nile. We look back in awe at a sea now appearing normal after having miraculously parted. But what now?

[Here's the whole post.]


via negativa.

It was my birthday, and I had been given a live shrew in a box — not for a pet, but simply to admire and to photograph. I was a little disappointed at first that I didn’t get any real presents, but the shrew was an admirably fierce little creature who attacked anything thrust in its direction, and I soon appreciated the wisdom of the gesture: loaning me a fully wild creature, something that can never be owned or controlled. The idea that anyone can own anything — it’s such a delusion, isn’t it? But that’s what drives this mania of consumption imperiling the earth.

[Here's the whole post.]

[picture]

Mole.

Darling,
The rain you sent was mixed with snow.
I could not tell which between
The snowflakes and the apple blossom
On the black sidewalk; I woke and you were

[Here's the whole poem.]

[Picture]

The Middlewesterner.

You see what you see. Don't beat yourself up too badly about it. Tomorrow the sky will be something different, a blue sheerness of petticoat, a shiny muslin, a white gauze.

Metaphor takes you away; it doesn't bring you back. You come back on your own if you get here at all.

[Here's the whole post.]

[Picture]

Lekshe's Mistake.

Place
is not substance, not
a point in space,
more a point in time
when the conjunction of mind
and matter create
an experience
that
makes us believe there is a spot
to which we can return.

[Here's the whole poem.]


Marcia Bonta.

Dragoo, affectionately referred to as “Skunk Man,” has little or no sense of smell, so as a mephitologist he can easily study and live with skunks. When he wants one for his research, he chases it down, picks it up by its tail, and is liberally sprayed, because, as skunk expert Richard G. Van Gelder discovered back in the 1960s, you can only grab a skunk by the tail and escape being sprayed if you surprise the animal. Otherwise, it is able to evert its anus and expose the nipples from its huge and squishy scent sacs, which are then ready to fire even if you do pick it up by its tail.

[Here's the whole post.]

[child walking]

Dick Jones' Patteran Pages.

Your soft clock
scatters seconds like
peas on a drum.

A feather pulse
stutters in your
neck.

[Here's the whole poem.]

[duck photo]

Slow Reader.

Aubrey is the guru of the Shelf Monkeys, a secret ‘book club’ to which Thomas gets invited. “Some books are simply a waste of paper, a waste of effort both to write and to read.” The flaming cover of this novel is sufficient clue to the book burnings that ensue, inspired by Fahrenheit 451. Books burnings, by the literate?! Only for books deemed not worthy by the members’ code. “We meet, we debate, we burn. It’s therapy, really.” Things escalate quickly and darkly, Lord of the Flies style, and Thomas is compelled to choose between his loyalties to his friends, literature, ethics, and his sanity.

[Here's the whole post.]


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