I discovered this amazing musician—Serbian harpist and pianist Nadja Dornik. She transcribed and performed a stunningly beautiful version of Frédéric Chopin’s Fantaisie-Impromptu (C♯minor, Op. posth. 66, WN 46) on the harp. It was recorded on August 30, 2022 at the Belgrade Philharmonic Concert Hall.
In previous posts we highlighted how certain poems (or a song) seem to come through poets as if they were a conduit. Another example is poet Marie Howe. During a poetry reading she gave at a Christian Scholars’ Conference in 2017 Plenary, she said this about her writing. (19:39)
“So much of writing for me is writing a lot and throwing it out, because as John would say, I knew that already. So, it’s writing and writing and writing until the poem actually begins to write me, which was a great great feeling. And this is a poem that ended up being a title of this book, because I was working on four or five different poems in a very long day and finally pushed them aside, because I had to give up writing a poem, and just write to my dead brother John. And it ended up being what wanted to be written. It’s called What the Living Do.” (20:18)
So, it’s writing and writing and writing until the poem actually begins to write me, which was a great great feeling. And it ended up being what wanted to be written.
Marie Howe on the poem to her brother, What the Living Do
Fresh Air: Poet Marie Howe On ‘What The Living Do’ After Loss
She read and discussed this poem, and others, with Terry Gross on NPR’s Fresh Air: Poet Marie Howe On ‘What The Living Do’ After Loss (Oct 19, 2011). Her younger brother John died from AIDS-related complications in 1989. A few years later she wrote him a poem in the form of a letter. They wrote, “the poem is an elegiac description of loss, and of living beyond loss.” The title poem of her collection was later selected for inclusion in The Penguin Anthology of 20th-Century American Poetry.
These comments by Marie from their wonderful conversation stood out: “So many poems occur at the intersection of time and eternity and the fullness of time. … Poetry holds the knowledge that we are alive and that we know we’re going to die. The most mysterious aspect of being alive might be that—and poetry knows that.”
Poetry holds the knowledge that we are alive and that we know we’re going to die. The most mysterious aspect of being alive might be that—and poetry knows that.
Marie Howe on our mortality and poetry’s redeeming value
The Writing Life: The Poet Is In at Grand Central Terminal
During her two-year tenure as New York State Poet Laureate, Marie Howe collaborated with the MTA and NYU to create public poetry events. She told poet Sandra Beasley, host of The Writing Life, that the coolest thing they did, and expanded upon the next year, was The Poet Is In at Grand Central Terminal, where hundreds of people lined up for hours to have their own poem written for them by an award-winning poet. The program was so successful they had to build more sets and bring in more poets on a rotating schedule to handle the growing demand. That section of the interview, Marie Howe wants you to carry her poems away, is cued up at 20:38.
“I do, because it involves a wonderful contradiction, which is, in order for it to happen, you have to be there, and you have to disappear. Both. You know, nothing feels as good as that. Being there and disappearing—being possessed by something else. Something happening through you, but you’re attending it. There are few other things in the world like that, but writing is pretty much a relief from the self—and yet the self has to be utterly there.”
Nothing feels as good as that. Being there and disappearing—being possessed by something else. Something happening through you, but you’re attending it. Writing is pretty much a relief from the self—and yet the self has to be utterly there.
Marie Howe on the contradiction within writing as a spiritual act
Poets Ada Limón and Ranier Maria Rilke
This relates to the previous post about Ada Limón, the 24th U.S. Poet Laureate, where she describes her experiences of writing poetry—how deep attention can turn into a poem, that deep looking is a way of loving, and can transform the smallest thing into something of great importance. She said it is the thing that brings her the most joy.
Ranier Maria Rilke describes, in great detail, this process of deep seeing and ability to surrender completely to “Things whose essential life you want to express.” If you do, then it will reciprocate and “speak to you” with a most glorious outcome. His amazing description, translated by Stephen Mitchell, is included in that post.
Previous posts on being a conduit for poetry and song
In a previous post, Karen Matheson sings a beautiful sad Gaelic song. Written by Brendan Graham, he reveals how the song chose him as a conduit to tell its story of loss and grief during Ireland’s 1840s famine.
Poems about death by Stephen Levine and Mary Oliver
Mary Oliver reflected on death, especially towards the end of her life when she was ill. These two poems reveal her thoughts. White Owl Flies Into And Out Of The Field — maybe death / isn’t darkness, after all, / but so much light / wrapping itself around us–. When Death Comes — When it’s over, I want to say: all my life / I was a bride married to amazement. / I was the bridegroom, taking the world into my arms.
Reflections one year later
It’s been a little over a year since I posted this, and after rereading Marie Howe’s poem to her brother, the last two short declarative sentences in the last line still surprise and move me: I am living. I remember you.
Grief persists after the loss of a close friend, but so does love. In time, grief recedes and love predominates. Here is a poem I wrote for my sweetheart a little over a year after she had passed: Still Sali Haiku—the persistence of love over grief.
— Written and compiled (citing sources) by Ken Chawkin for The Uncarved Blog.
The Uncarved Blog 