T.S. Eliot declared April as the cruelest month. It is and it is not. Referencing that crime against humanity we call World War I, April was the month when military action began, wasting a generation of young men. Human folly can always be counted upon. Cruel indeed as the shock of awakening brings us unfulfilled expectations.
What can we expect from poetry? Truth, however obliquely stated, perhaps enough to bridge the great divide. While cherry blossoms are dropping their clouds, I want to whoop it up for yet another go around, this happy cycle, even if it is a clash of allegories.
My body is bent but so are those reeds answering the wind.
And out of the leafless coral tree at my window, red lanterns hang like
banners ahead of the starter’s gun, announcing next month’s combustion of green
fired leaves.
If we are under siege, let it be drowned out by the trumpet
in the foxglove and migrations overhead, a murmuration of amens. It is also, as
Cummings promised, a mud-luscious time. The wasteland is pregnant. Turtles
are laying their eggs in roadside soil. If flowers could sing (and they do) let
their choir voice our vehemence to the carnage of our national forests soon to
fall under chainsaws.
Spring carries our collective memories, of sprung
possibilities out of skeletal trees. Under
last month’s barren ash tree, where I sat with my friend, we now look up at a lacy umbrella of green; the substance within us that prevails.
The film, That They Should Face the Rising Sun, is
visual poetry; an elegy to a small Irish village in which all but a single young couple and a handful of aging town folk have left for pastures greener. But there
are no greener pastures than those in this hilly, lakeside county. Plot is nowhere to be seen, nor priest nor pubs. The camera scans the reeds and garden paths, the seasons
each to a purpose. Conflicts are made smaller by the enormity of pasture and sky and the pacing quiets a beating heart. We get immersed in the rhythms of dailiness and the cycles of
a wedding and funeral with the young poet and his artist wife folding into the
adagio of their ways.
In Robert Frost’s Hillside
Thaw, we are reminded how the sun lets go / ten million silver
lizards out of snow… But if I thought to stop the wet stampede / and caught one
single lizard by the tail…I have no doubt I’d end by holding none. The
second stanza brings in the wizard moon which turned the swarm to rock
and held them all until day, / one lizard at the end of every ray. / The
thought of my attempting such a stay.
Frost, like Eliot, brings in the shadow side. Whatever stay he bears witness to against this fractured and uncertain world would be a momentary one. But our lives are just moments strung together.
If April is cruel, so is all emerging life into a world of walls and misplaced rage. Whether we write or not, we can all be poets alert to layers of meaning inherent in everything available to our mind and senses.