Poetry Interlude–What The Living Do Edition
OK, how about a rare weekday post crammed between my somewhat irregular Sunday posts. Not too much reading, I hope.
Anyway, someone asked me recently if I planned to ever return to my poetry related posts, which I used to do on a regular basis. She recalled a poem I had introduced her to called “What The Living Do” by Marie Howe. She said that it still haunts her. She’s not the only one. It’s a gripping poem. The sort I could never read in a group setting because my voice would crack and the tears that inevitably well in my eyes each time I read it would blur my vision. No matter that, actually, because I have the poem pretty much committed to memory. I do that for a very fundamental reason—commit poems to memory. When I’m on the bus, or waiting for the bus, or lying awake in bed unable to sleep, or doing dishes, I often recite my favorite poems under my breath. Some people have mistaken my murmuring for prayer, which in a sense it is. My kids have long since learned to ignore me when they hear me mumbling off in some corner of the house, just out of earshot. But they’ve also learned that when I speak loudly enough for them to hear it is because I want them to hear, and they kindly stop what they’re doing and listen. They think they are humoring me. They often exchange knowing glances before going back to whatever occupied their minds before the interruption, completely unaware I have altered their lives in some small, subtle way. In the grand scheme of things it may be one of the more important things I do for my kids.
And, so it seems, I’ve managed to do the same thing for some other people, too. That’s cool. My greatest hope in life is to write a poem someday that haunts a reader years later, that in some small subtle way alters their life forever. But until then—optimistically assuming it will happen—I am almost just as happy to introduce them to poems that I love and to learn years later that those poems still have meaning for them. It makes indulging my passion for poetry a little less self-indulgent.
So, back to the poem that started this post in motion—“What The Living Do.” It is the title poem in a book Marie Howe wrote in the wake of her brother’s death to AIDS. What makes this poem, and the entire book for that matter, so powerful is that Howe’s grief never turns to self-pity or to sentimentality. The poem remains stark in its treatment of the subject, not allowing ornamentation or adornment to get in the way of the sharp, raw emotion. Howe’s handling of the subject reminds me of something another poet, Eavan Boland, says in a poem of her own that addresses a deeply emotional subject:
Let no love poem ever come to this threshold.
There is no place here for the inexact
praise of the easy graces and sensuality of the body.
There is only time for this merciless inventory:
Make no mistake: Howe’s poem is a love poem, in that it is a poem born of and steeped in her deep love for her brother. But it does not turn to the gauzy language of love, the sentimental heart-string plucking vocabulary and imagery poets pull out when they need to beg for an emotional response their poem cannot elicit on its own terms. There is no place here for that stuff.
What The Living Do
By Marie Howe
Johnny, the kitchen sink has been clogged for days, some utensil probably fell down there.
And the Drano won’t work but smells dangerous, and the crusty dishes have piled up
waiting for the plumber I still haven’t called. This is the everyday we spoke of.
It’s winter again: the sky’s a deep, headstrong blue, and the sunlight pours through
the open living-room windows because the heat’s on too high in here and I can’t turn it off.
For weeks now, driving, or dropping a bag of groceries in the street, the bag breaking,
I’ve been thinking: This is what the living do. And yesterday, hurrying along those
wobbly bricks in the Cambridge sidewalk, spilling my coffee down my wrist and sleeve,
I thought it again, and again later, when buying a hairbrush: This is it.
Parking. Slamming the car door shut in the cold. What you called that yearning.
What you finally gave up. We want the spring to come and the winter to pass. We want
whoever to call or not call, a letter, a kiss—we want more and more and then more of it.
But there are moments, walking, when I catch a glimpse of myself in the window glass,
say, the window of the corner video store, and I’m gripped by a cherishing so deep
for my own blowing hair, chapped face, and unbuttoned coat that I’m speechless:
I am living. I remember you.
