The new issue of World Literature Today arrived in the mail this past week, and just in time—swinging back and forth as I am from sadness to despair to a cold anger that needs to be fed by increased political engagement, I find I need literature more than ever to help ground me.
So what a gift, to read this passage from an interview with the Macedonian novelist Lidija Dimkovska:
“In my school the teachers preferred to say that books were our best friends. Not dogs, but books. As a child, even if I loved books more than everything else, I considered this a facile phrase. But over the years I realized that it is true: people in our life come and leave, relationships change, even best friends sometimes don’t have time for us. Human beings, being flexible, dynamic, and busy, cannot stay with us all the time. But books can. Always and everywhere a book is waiting for me.”
I both agree and disagree with Dimkovska. I think she underestimates how friends and family stay with us as interior presences, whether they’re near or far (or for good or ill). But books, yes, books wait for us. In my study I’m surrounded by them: walls of what I’ve read and what I want to.
Among those waiting books are the ones I’ve kept returning to over the years, and these days I find myself especially drawn to books of poetry. One such book, as dog-eared and binding-cracked as can be, is (Asian Figures), a collection of proverbs and aphorisms from seven Asian countries, translated by the American poet W.S. Merwin.
These proverbs and such, presented by Merwin as poems never more than three lines long, are little nuggets of often cynical wisdom. Some land like a punchline, others reward lingering for a deeper unfolding.
Tree grows the way they want it to
that’s the one they cut first
blames the ditch
if it gets you there
Even on dog turds
the dew falls
When you’ve died once
you know how
Telling a fish
Eats all he wants
then upsets the dish
Before you beat a dog
find out whose he is
are never as ugly
Books don’t empty words
Words don’t empty thoughts
That last proverb would certainly start the Portuguese poet Fernando Pessoa’s head nodding. Pessoa was a poet who created a series of alternate personalities—heteronyms, he called them—who each wrote their own distinctive poetries. They all balanced inside him—Alberto Caiero, Ricardo Reis, Alvaro de Campos, and Bernardo Soares, among many others. Pessoa spent his entire adult life juggling these various aspects of himself, creating his own internal literary salon.
The following untitled poem, one of the relatively rare poems written under Pessoa’s own name, is a kind of road map of his life’s work. And yet, as personal as it is, it speaks a truth we often ignore about the multiple possibilities within ourselves.
I’m a fugitive.
I was shut up in myself
As soon as I was born,
But I managed to flee.
If people get tired
Of being in the same place,
Why shouldn’t they tire
Of having the same self?
My soul seeks me out,
But I keep on the run
And sincerely hope
I’ll never be found.
Oneness is a prison.
To be myself is not to be.
I’ll live as a fugitive
But live really and fully.
(from A Little Larger Than the Entire Universe: Selected Poems, translated by Richard Zenith)
I can’t remember now what first led me, back in the late 1970s, to the work of the Serbian poet Vasko Popa—maybe an approving review by the poet Charles Simic, another favorite of mine? Popa wrote his main body of work when Serbia was still a part of the now-extinct country of Yugoslavia, and some of his poetry, as the years have passed, seem to be to be predictive of that break-up, of the flawed human urges that helped create the Balkan Wars of the 1990s.
One of the most powerful sections in his Collected Poems (translated by Anne Pennington), titled “Games,” uses the conceit of the structure of play to reveal an elemental something else that is not playful at all. This poem is perhaps my favorite in the sequence:
Some bite off the others’
Arm or leg or whatever
Take it between their teeth
Run off as quick as they can
Bury it in the earth
The others run in all directions
Sniff search sniff search
Turn up all the earth
If any are lucky enough to find their arm
Or leg or whatever
It’s their turn to bite
The game goes on briskly
As long as there are arms
As long as there are legs
As long as there is anything whatever
Perhaps this poem is a little too close to home these days. Let’s try another poem about play, written by an eleven-year old boy, Tozu Norio. It’s from the collection There are Two Lives: Poems by Children of Japan, edited by Richard Lewis. Torio’s poem offers us a glorious dizzy ride, bringing us back to the time in our lives when, even if only once, all we wanted was for recess to never, ever end.
Ten Thousand Years’ Play
I got into the ocean and played.
I played on the land too.
I also played in the sky.
I played with the devil’s children in the clouds.
I played with shooting stars in space.
I played too long and years passed.
I played even when I became a tottering old man.
My beard was fifteen feet long.
Still I played.
Even when I was resting, my dream was playing.
Finally I played with the sun, seeing which one of us could be redder.
I had already played for ten thousand years.
Even when I was dead, I still played.
I looked at children playing, from the sky.
It’s dark outside now, the sun sets much too early these days, which adds to my sour mood about the state of today’s politics, and what the future will bring come January. I’m ready for the defense of what I hold dear about the promise of my country, and I’ll be reading from my “best friends” on the shelves in my study, letting them help sustain me, borrowing from their strength. As the Chinese proverb says,
Sound like thunder
- Menace and Ambiguity: Bob Dylan’s “Cold Irons Bound”
- Book Stew
- Everywhere a Book Is Waiting
- Think Good Thoughts
- The Country We Want Our Country To Be
- The Difference Between an Artist and a Performer
- Between Before and After
- A Writing Residency on Steroids
- More Quiet Than You Can Imagine
- The Art of Verbal Dueling