Only just got back from holiday, but I really want to participate in one of my favourite monthly memes: the Six Degrees of Separation, hosted by Kate in Kew
This month’s starting point is Memoirs of a Geisha by Arthur Golden, which I read while I was studying Japanese at university, so I was really snobbish and dismissive about it at the time. There is an element of exotification the Oriental Other and a strain of soap opera about it which still doesn’t sit well with me, but it’s been a gateway to Japanese culture and literature for many, many people. Incidentally, if you are looking for a more honest account of life as a geisha in post-war Japan, Iwasaki Mineko (the geisha whom the author based the book on) wrote her side of the story in her autobiography Geisha of Gion.
Another book that casts a non-judgemental look upon what some call the ‘oldest profession in the world’, but without the glamour and rigid rules that have been associated with it in Japan, is G. B. Shaw’s play Mrs. Warren’s Profession. How do you come to terms with your mother being a former prostitute and now a brothel madam, when her money offered you a comfortable lifestyle and supported you through your studies? Well, although I am not a fan of prostitution, I certainly don’t blame women for it, so I think both Shaw and I disapprove of the self-righteous daughter’s shock and rejection of her mother’s way of life.
The mother-daughter relationship is such a rich source of fiction and memoir, so it was quite hard to make a choice for my next link, but Mildred Pierce by James M. Cain is a brilliant story about an ungrateful daughter whose mother has made far too many sacrifices for her. The film version is (dare I say it?) far better though (and I don’t often say that), with Joan Crawford being absolutely devastating in it.
One of the best books I’ve ever read on the subject of divorce and how to survive a cheating spouse is a volume of poetry. Sharon Old’s Stag’s Leap is ferociously honest, at once heartwarming and heartbreaking, chronicling the end of a marriage from anger, disbelief, grief to final acceptance and moving on.
…and I saw, again, how blessed my life has been,
first, to have been able to love,
then, to have the parting now behind me,,
and not have lost him when the kids were young,
and the kids now not at all to have lost him,
and not to have lost him when he loved me, and not to have
lost someone who could have loved me for life.
From a leap to a jump, Austin Ratner’s The Jump Artist is a novel/biography of the photographer Philippe Halsman, born in a Latvian Jewish family, accused of murdering his father in 1928 and freed after numerous appeals by friends such as Sigmund Freud, Albert Einstein, Thomas Mann and others. He lived and worked in Paris until France was invaded by the Germans, then moved to the States. He became famous as a portrait photographer who asked many of his subjects to jump, because ‘when you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.’
One of the people Halsman photographed jumping is Stanley Hyman, Shirley Jackson’s husband. In the thoughtful biography Shirley Jackson: A Rather Haunted Lifeby Ruth Franklin, we read that in the first take Hyman jumped so high that the frame only captured his feet. Halsman did not expect a sedentary scholar to be so competitive – and the image he did finally capture shows a person so self-absorbed and demanding (of himself and others), that it does indeed give us an insight into the tough-emotionally-yet-satisfying-intellectually marriage Shirley Jackson must have had with him.
For once, I have stayed largely within the English-speaking realm this month, and on the verge of biographies/real life stories. Where do your Six Degrees take you?
After recent events in America, I felt I needed the comfort of some thoughtful women poets, who can uplift and inspire us with their words and their lives.
Maxine Kumin: Jack and Other New Poems
Maxine Kumin has been one of my heroines from way back, when I wrote poetry the first time round, in high school. Her trademark close observation of nature life is often humorous, with just a tinge of fear and wonder at the power of nature, its bounty but also its indifference. She has sometimes been described as a ‘regional pastoral poet’, but her themes seem universal to me, although they often start from personal experiences of farming life. The poem ‘7 Caveats in May’, for instance, describes her dog chasing a bear up a tree and no patrol car being available to help, so she has to ask her neighbour to poke the bear to come down (without tearing apart the dog). The cheeky redpoll birds are described as ‘highwaymen’, intimidating ‘your year-round faithfuls away from the feeder’, yet Kumin notes with tenderness how charming they are ‘in their little red yarmulkas’.
Of course, nature always leads humans to awareness of their own mortality, especially when beloved animals (horses and dogs) die, yet leave their ghostly imprint upon us. The almost unbearable pain of farewell from her beloved old mare Broody, who had a good life, yet the indignity which follows death is always present, no matter how quiet and gentle the passing away itself is.
If only death could be
like going to the movies.
You get up afterward
and go out
saying, how was it?
Tell me, tell me, how was it?
Kumin must have been a delightful person to know, her poems often feel like a personal conversation, with brilliant moments of insight, yet always elegant, restrained, making you work to understand what lies below the carefully constructed and balanced surface. Yet there are personal touches too, like this charming reference to her fellow poet Stanley Kunitz:
Luck of the alphabet,
since 1961 we’ve leaned
against each other, spine
on spine, positioned thus.
Upright or slant, long may we stand
on shelves dusted or not
to be taken up by hands
that cherish us.
Of course, this being Kumin, firebrand and feminist, the poems are not just inward-looking, but expertly mix the lyrical with the political. Particularly striking is the poem ‘Women and Horses’, which asks how poetry and beauty is still possible after the experiences of Auschwitz, Vietnam, Korea, Somalia, Haiti, Afghanistan, after the Towers’ (you can imagine which twin towers this refers to). It is an exhortation that the only way forward is to allow freedom and beauty rather than seek to constrain life, even if the result is messy.
Let there be fat old ladies in flowery tent dresses at bridge tables. Howling babies in dirty diapers and babies serenely at rest. War and détente will go on, détente and renewed tearings asunder, we can never break free from the dark and degrading past. Let us see life again, nevertheless, in the words of Isaac Babel as a meadow over which women and horses wander.
Cecilia Woloch: Carpathia
I’d never heard of Cecilia Woloch before but the title of this collection appealed to me, since a good part of the Carpathian mountains are in Romania. However, it turns out that the poet is referring to the Polish portion of the Carpathians, which is where her family originally came from. She instantly appealed to me, with her nomadic lifestyle and her poetry outreach work in prisons and schools, as well as collaborations with visual artists and theatres.
Growing up in rural Kentucky as one of seven children, she pens a beautifully tender ode to her parents, the love they have for each other and their family, entitled ‘Why I Believed, as a Child, That People Had Sex in Bathrooms’. Here she is on You Tube performing it.
Poets always seem to find it easier to write about sad things and troubled times, but Woloch has the knack of happiness. She captures perfectly the dizzying moments of falling in love, with the breathless listing of key moments, the repetitions, the simplicity of language:
And hadn’t you kissed the rain from my mouth?
And weren’t we gentle and awed and afraid,
knowing we’d stepped from the room of desire
into the further room of love?…
And were we not lovely, then, were we not
as lovely as thunder, and damp grass, and flame?
Her poems evoke a special kind of tenderness, a profound understanding of the less than perfect situations or humans. In the tour de force of a poem which is the pantoum Le Jardin d’Isabelle, she describes a woman being invited to the home of her lover and his wife. This is a love triangle without rancour or bitterness, although it addresses the shattering of illusions. But the language conveys so much richness, flowing, shimmering brightness, that it feels ultimately uplifting.
Sharon Olds: The Wellspring
I’ve admired Sharon Olds since I discovered her when she won the TS Eliot Prize (the first American to do so) for her collection ‘Stag’s Leap’, which described her abandonment and the breakdown of her marriage. There is nothing she does not address fearlessly and in a very feminine way (strong, feisty feminine way) in her poetry – family, politics, inner life, but I’d never read a whole collection by her. As the name indicates, ‘The Wellspring’ is about the female experience in its entirety: from the mother’s womb, to childhood and sexual awakening, to motherhood and learning to let go, to mature love. It’s full on instantly recognisable moments too, yet always with a surprise twist: a father smiling triumphantly at a daughter who comes last in a swimming race ‘almost without meanness’; the bonding between brother and sister both wearing braces, like a tribe sharing a sibilant language with its ‘orthodontial lisp’; love-making in narrow beds in college.
It’s a very sensual description of the body and emotions – fully-charged eroticism counterpointed with tenderness, humour and wonder at the miracle of giving birth to something so profoundly other. This is poetry which speaks directly to the emotions rather than being a tricky intellectual puzzle, which is exactly what the poet intended. I particularly liked the bittersweet feeling of no longer being needed, so eloquently described in the poem about the smashing (mercy killing) of the cow butter-dish, marking the end of motherhood.
Some critics have complained that her poetry is too accessible (while others usually complain that poetry has become too difficult and unappealing), but I think she is popular without becoming populist, and has the perfect balance between the personal and the universal. Many of her poems start off with a funny moment and then rapidly change into something far more serious and poignant, with a real wind of loneliness blowing through it, as in her poem ‘Forty-One, Alone, No Gerbil’. I’ll have to share it with you in its entirety, as it would be a shame to cut off any part of it.
In the strange quiet, I realize
there’s no on else in the house. No bucktooth
mouth pulls at stainless-steel teat, no
hairy mammal runs on a treadmill–
Charlie is dead, the last of our children’s half-children.
When our daughter found him lying in the shavings, trans-
mogrified backwards from a living body
into a bolt of rodent bread
she turned her back on early motherhood
and went on single, with nothing. Crackers,
Fluffy, Pretzel, Biscuit, Charlie,
buried on the old farm we bought
where she could know nature. Well, now she knows it
and it sucks. Creatures she loved, mobile and
needy, have gone down stiff and indifferent,
she will not adopt again though she cannot
have children yet, her body like a blueprint
of the understructure for a woman’s body,
so now everything stops for a while,
now I must wait many years
to hear in this house again the faint
powerful calls of a young animal.
Sharon Olds seems to be getting more and more honest and uncompromising in her examination of the female body and ageing, according to the critics, in her latest book ‘Odes’. I feel myself attracted to it already…