Doris, our elder, sent this Merwin poem yesterday:
To the New Year
With what stillness at last
you appear in the valley
your first sunlight reaching down
to touch the tips of a few
high leaves that do not stir
as though they had not noticed
and did not know you at all
then the voice of a dove calls
from far away in itself
to the hush of the morning
so this is the sound of you
here and now whether or not
anyone hears it this is
where we have come with our age
our knowledge such as it is
and our hopes such as they are
invisible before us
untouched and still possible
—W.S. Merwin
He might be writing about the new year, his true self, or, perhaps, God. Poems are like that. Once they leave home, they are both homeless and belong to everyone.
I ask God:
Who do people say you are?
You talking to me?
Yeah, you.
People think the damnedist things.
Like?
Like I'm breath.
Are you, breath?
Yeah, I am.
What else?
Some say I'm everything.
Are you?
Yeah, I am.
What else?
Nothing.
Are you?
Yeah.
Talking to God is awkward. I know God doesn't talk out loud, that I make it up, phrase whatever comes to mind. I know that I'm probably just having an inner dialogue with myself.
Merwin wrote
from far away in itself
to the hush of the morning
so this is the sound of you
I like that.
God and my self and the new year -- each sounds that way.
Saying nothing other than distant hush, stillness, sunlight reaching down.
In 1957, as I entered high school, I read Allen Ginsberg in a poem saying "Poet is Priest." It was a line in his "Death to Van Goth's Ear".
It caught my attention. I'd just turned twelve. It's when I began my love of poetry. It had a sacramental implimentation. The implication for me was an exclaustrated creativity that cycled through my years, then decades, into a lifetime of being just outside the monastic cell of religious horarium, just outside the monastic enclosure whose signage seemed to say -- "stay away, but stay close."
Consecration is an inner act of reverence to all that belongs.
When the priest at mass echoing Jesus used to say "Hoc est corpus meum" (This is my body) -- I heard also "per omnia secular secularum" (through all ages of ages, now is forever, all is what is here). My bastardized translation and odd understanding threw me into the scripture of prophecy, poetry, and projective verse.
In developing his poetics, [Charles] Olson drew from a wide array of influences, including mythology, the history and geography of Gloucester, and the process philosophy of Alfred North Whitehead. Olson believed that the act of poetic creation should be connected to a primordial dimension of human existence. He wrote in his landmark essay “Projective Verse” (1950) that poetry was a form of “energy transferred from where the poet got it” to the reader. In distinction from the “closed form” of conventional poetic meter, Olson proposed an “open field” that “projects” organically from the poem’s content—i.e., the perception of the poet who interacts with and yet is an integral part of the poet’s immediate environment. Olson used the duration of a human breath, a basic human function that conveyed a poet’s vital energy, as the measure of a poetic line.
https://www.britannica.com/biography/Charles-Olson#ref1106576
I would read Olson, Creeley, Williams, Merwin, Ginsberg, Rich, Snyder, Antoninus, Kinnell, Eliot, Pound, Duncan, Empson, Edson, Harjo, Hirshfield, Paston, Basho, Issa, Buson, Takahashi, Sakaki --among many others.
Poet was priest for me.
Poems, scripture.
The poetic, my monastery.
Today, in this cell, this poetic -- i.e. "an imaginative sensitive emotional thoughtful expression" (dictionary) of what is revealing itself -- is the muted vocation that cloisters me in daily practice.
This by Takahashi:
Destruction
by Shinkichi Takahashi
English version by Lucien Stryk and Takashi Ikemoto
Original Language Japanese
The universe is forever falling apart --
No need to push the button,
It collapses at a finger's touch:
Why, it barely hangs on the tail of a sparrow's eye.
The universe is so much eye secretion,
Hordes leap from the tips
Of your nostril hairs. Lift your right hand:
It's in your palm. There's room enough
On the sparrow's eyelash for the whole.
A paltry thing, the universe:
Here is all the strength, here the greatest strength.
You and the sparrow are one
And, should he wish, he can crush you.
The universe trembles before him.