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MastheadLogoTheIowaReviewVolume18Issue2Spring-SummerArticle331988Reviewof"TheHawLantern"byPeterFilkinsPeterFilkinsFollowthisandadditionalworksat:https://ir.
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RecommendedCitationFilkins,Peter.
"Reviewof"TheHawLantern"byPeterFilkins.
"TheIowaReview18.
2(1988):184-203.
Web.
Availableat:https://doi.
org/10.
17077/0021-065X.
3630ReviewPeterFilkinsSeamusHeaney.
TheHawLantern.
FarrarStrausGiroux,1987.
51pp.
$12.
95(cloth).
DerekWalcott.
TheArkansasTestament.
FarrarStrausGiroux,1987.
117pp.
$14.
95(cloth).
PeterViereck.
ArcherintheMarrow.
W.
W.
Norton,1987.
260pp.
$6.
95(paper).
Fewpoetsarefortunateenoughtobecomethemeasureofthelanguagebywhichtheyliveandwritewithintheirowntime.
SeamusHeaneyisoneofthem.
WiththeappearanceofTheHawLanternhecontinuestodisplaythegraceandskillwithwhichhehascarvedsomanybeautifulpoemsovertheyears,aswellasthecouragetopressbeyondthecreaturecomfortsofcrafttowardsadeepervision,unexploredground.
Thevowelledintimacybywhichhespeaksthroughpeopleandplacesratherthanjustwritingofthemisasalivehereasever,lineafterlinedemonstratingthathemightindeedpossessthebestearontheplanet.
Moreimportant,however,aretherigorandintegritythatthebookoffersusasawhole.
Aslimvolumeofthirty-onepoems,onlytwoofwhichgobeyondtwopagesinlength,thebookveersdecidedlyawayfromtheepic-makingofHeaney'slastcollection,StationIsland.
Instead,weareawardedthepareddownpurityofasuccessfulandreknownedpoetreassessinghisartmid-career,chiselingawayatanyexistentdrosssothathisownstyledoesnotovercomehim.
Theresultisacollectionofgems,eachofthemcutandpolished,facetedandsetbyaconsciousnessasvitalasitisdiscriminating.
Heaneyhasalwaysbeencelebratedasapoetofsuredetails.
Attimesalmostsentimental,atotherstheverybestatinhabitingthelandscapeofchildhoodasifonatripnextdoor,hehasalwaysbroughttohisworkatalentformininganintimate,personalpastasthesourceoflargermeditationsonart,nationhood,Irishpolitics,andhistory.
Thekeytothisishisknackforlettingdeftandprecisedescriptioncarrytheweightofhismessageratherthanimpalehisthoughtonanartificial"poetic"context.
Here184UniversityofIowaiscollaboratingwithJSTORtodigitize,preserve,andextendaccesstoTheIowaReviewwww.
jstor.
orgin"Alphabets,"thebook'sleadpoem,hecontinuestoshapeandinterpretthepresentasaghostofthepast,hiseyeandearcarefultolettheshadowsspeakforthemselvesasheremembersbacktohisfirstencounterwithlanguageandwritingasaschoolboy:Tworaftersandacross-tieontheslateArethelettersomecallah,somecallay.
Therearecharts,thereareheadlines,thereisarightWaytoholdthepenandawrongway.
Firstitis'copyingout',andthen'English'Markedcorrectwithalittleleaninghoe.
Smellsofinkwellsriseintheclassroomhush.
AglobeinthewindowtiltslikeacolouredO.
Likearticlesinafoundation'stimecapsule,"rafters,""cross-tie,""slate,""hoe,"and"inkwells"constructtheboy'sreality.
Meanwhile,theclassdistinctionmadebetween"ah"and"ay"prefigurestheawarenessthatwillturnhimintoanadult,whilethe"colouredO"oftheglobebridgesbothworlds:thatoftheinnocentschoolboybeinginitiatedintotheexotic,andthatofthepresentpoetwhohastraversedthelivingplanetthroughvisionandact.
Hence,atthepoem'sendwestandsomewherebetweenthetwo,timebeingmoreflexiblethanspace,andthepoetrealizingthatlanguageiswhatgrantshimtransportbetweenwhathehasbecomeandhowhecametoit:Theglobehasspun.
HestandsinawoodenO.
HealludestoShakespeare.
HealludestoGraves.
Timehasbulldozedtheschoolandschoolwindow.
.
.
.
Allgone,withtheomegathatkeptWatchaboveeachdoor,thegoodluckhorseshoe.
Yetshape-notelanguage,absoluteonairAsConstantine'ssky-letteredINHOCSIGNOCanstillcommandhim;185.
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.
AsfromhissmallwindowTheastronautseesallhehassprungfrom,Therisen,aqueous,singular,lucentOLikeamagnifiedandbuoyantovumOrlikemyownwidepre-reflectivestareAllagogattheplastereronhisladderSkimmingourgableandwritingournamesthereWithhistrowelpoint,letterbystrangeletter.
Butcloseattentionpaidtophysicaldetails,coupledwithimagesfleshedoutbyconsonantsandvowelsconjuredintoathree-dimensionalqualityofsound,sense,andwhatFrostcalled"thesoundofsense";thisisnotnewsasfarasHeaney'sdevelopmentasapoetisconcerned.
Similarly,thenotionthatpoetryprovidesameansfor"digging"upthepastinorderthatitreinhabitthepresentissomethinghehasreturnedtooverandoversincehisfirstmaturepoembythatsamename.
Evenhisstyle,carefulandcraftedasever,remainsessentiallyunchanged.
"Clearances,"asonnetsequencewrittenforhisrecentlydeceasedmother,notonlyharksbacktothe"GlanmoreSonnets"inFieldWork,italsosustainsthe"confessional"natureofHeaney'sworkanditscorrespondingtoneofself-accusation.
Standingathismother'sdeathbed,thepoetcapturestheentiresceneinasinglesestet,butwhatthepoemisreallyaboutisthewaythesceneechoesandreverberatesthroughhisownconscienceovertime:SowhiletheparishpriestatherbedsideWenthammerandtongsattheprayersforthedyingAndsomewererespondingandsomecryingIrememberedherheadbenttowardsmyhead,Herbreathinmine,ourfluentdippingknivesNevercloserthewholerestofourlives.
Indeed,despitethesupplenessHeaneydemonstrateshereasasculptorofimage,ironyandcadence,therealachievementTheHawLanternoffersusisauniquevisiongainedthroughthehandlingofabstraction,thought,andconsciousnessasiftheywereentitiesasimmediateandmalleableasclay.
ThisisnotonlyreminiscentofterritorystakedoutinlateYeats,186thereisalsoenoughofStevens'brandofcalculatedobjectivitytofloatthevisionbeyondthemanhimself.
Theresultisapoetryofideas,butonegroundedinavibrant,spokentongue;andifnothingelseitisabookwhichcelebrateswhatthelanguagecandoatitsfinest.
Functioninglikecornerstonestoalargerarchitecture,therearefourpoemsinthebookwhichclearlyaddressthenatureofconscienceandconsciousness.
Eachoftheirtitlesaddressesthemasbeingwritten"From"theseparatelocalesof"Frontier,""Republic,""Land,"and"Canton"intheabstractrealmsof"Writing,""Conscience,""theUnspoken,"and"Expectation,"respectively.
Theequationthussetupisoneofconsciousnessbeingaspalpableasalandscape,themindanditstrajectoryasimmediateasanopenfield,whetherminedorshimmering.
Heaneyisonhismostfamiliargroundinthefirstwhereheseesabordercheckascorrespondingtothe"FrontierofWriting,"artalsoinvolvingmeasuresoftensionandcontrol,momentsofimminentdanger,andtheblessingofrelease,where.
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.
suddenlyyou'rethrough,arraignedyetfreed,asifyou'dpassedfrombehindawaterfallontheblackcurrentofatarmacroadpastarmour-platedvehicles,outbetweenthepostedsoldiersflowingandrecedingliketreeshadowsintothepolishedwindscreen.
Thebordertraversedhere,however,isthatwhichliesbetweenthe"RepublicofConscience"andtheeveryday.
Returningasanemissaryfromthissecondrealm,where"Theirsacredsymbolisastylizedboat.
/Thesailisanear,themastaslopingpen,/Thehullamouth-shape,thekeelanopeneye.
.
.
,"thepoetfaceslargerresponsibilities.
Infact,theyprovebothburdenandboon,foruponbeingaskedtoconsiderhimself"arepresentative"sentoutbytheRepublic,healsolearnsthat"Theirembassies.
.
.
wereeverywhere/butoperatedindependently/andnoambassadorwouldeverberelieved.
"WhatHeaneyissodeftlyaccomplishinghereisafusionoftheclassicallyricmodewithanepicvisiongeneratedbymyth.
Byseeinghisdutiesandallegiancesasapoettobemorepressingandvitalthanhiscapabilitiesasa187humanbeing,healmostforcesthepoemstorelinquishhisownpresence.
Hence,inthethirdofthefourpieces,"FromtheLandoftheUnspoken,"anevenbroadervoiceisheard,onethatspeaksbyeondthepoettowhatlieshiddenandsilencedinallofus:Weareadispersedpeoplewhosehistoryisasensationofopaquefidelity.
Whenorwhyourexilebeganamongthespeech-ridden,wecannottellbutsolidaritycomesfloodingupinuswhenweheartheirlegendsofinfantsdiscoveredfloatingincoraclestowardsdestinyorofkings'biersheavedandborneawayontheriver'sshoulderoroutintothesearoads.
Tofindthislandonanymapcarvedoutbyhistorywouldofcoursebeimpossible,yetitspresenceaspartofthesoul'slandscapeseemscertain.
TheUnspokenlieswithineachofus,smotheredandfestering,whileatthesametimethepoemassertsthat"ourunspokenassumptionshavetheforce/ofrevelation.
"ThiscouldalsobesaidofHeaney'squartet.
Theunexplainedmysteryormythuponwhicheachpoemisbasedisthecatalystforourinhabitingarealmoutsideofhistory,pastorpresent,orashintedatinthelastsectionof"FromtheCantonofExpectation,""whatispast,orpassing,ortocome":Whatlooksthestrongesthasoutliveditsterm.
Thefuturelieswithwhat'saffirmedfromunder.
Thesethingsthatcorroborateduswhenwedweltundertheaegisofourstealthypatron,theguardianangelofpassivity,nowsinkafangofmenaceinmyshoulder.
Irepeattheword'stricken'tomyselfandstandbareheadedunderthebankedcloudsedgedmoreandmorewithbrassythunderlight.
Iyearnforhammerblowsontheclinkeredplanks,theuncompromisedreportofdriventhole-pins,toknowthereisoneamonguswhoneverswerved188fromallhisinstinctstoldhimwasrightaction,whostoodhisgroundintheindicative,whoseboatwillliftwhenthecloudbursthappens.
Thisisapocalypsedevoidofadvertising.
Thoughthefloodmaycome,hightidealreadyontherise,Heaneyisnotcontenttotollthebellsofdoomforthesakeofmakingheadlines.
Instead,itisa"CantonofExpectation,"grimandtightlipped,butatthesametimeassertingawish,ifonlythroughthe"Canto"ofsonghiddeninthepoem'stitle,thatthebestofhumankindwillsomehowcontinuetoflourish.
InastrangewayHeaneyhimselfcommentsupontheimportthisbookshouldholdfordecadestocome,thoughnodoubtitismyownconjurationratherthanhis.
In"TheMudVision,"itstitleindicativeofthegroundedmyth-makinginsomanyofthepoems,wearegivensnapshotsfromourcontemporarysurroundasrecognizableastheeveningnews:Statueswithexposedheartsandbarbed-wirecrownsStillstoodinthealcoves,haresflittedbeneathThedozingbelliesofjets,ourmenu-writersAndpunkswithaerosolspraysheldtheirownWiththebestofthem.
Satellitelink-upsWaftedoverustheblessingsofpopes,heliportsMaintainedacharmedcircleforidolsontourAndcasualtiesontheirstretchers.
Enterintothis"Ourmudvision,asifarosewindowofmud/hadinventeditselfoutoftheglitterydamp,/Agossamerwheel,concentricwithitsownhub/Ofnebulousdirt,sulliedyetlucent.
"NotonlydoesthisseemasgoodadescriptionofHeaney'spoetryasany,italsoentersintothepoeminmuchthesamemannerasthebestofhisworkcomestous:unexplainedandunimpeachable,languagebecomepureactandrevelation.
Hence,theconsequencesofourreadingcanbecomeasamplififledasthosewhichfollowuponthevision:Agenerationwhohadseenasign!
ThosenightswhenwestoodinanumberdewandsmelledMouldintheverbena,orwoketoalight189Furrow-breathonthepillow,whenthetalkWasallaboutwhohadseenitandourfearWastouchedwithasecretpride,onlyourselvesCouldbeadequatethentoourlives.
Appropriatelythepoetgoesontoadmit,"Welived,ofcourse,tolearnthefollyofthat,"buttheadvantagepoetryholdsovereventsliesinitsabilitytoincrease,ratherthandecrease,itsimpactovertime.
Visionscheckinandoutofoureverydayworldlikedelegatestoapoliticalconvention,buttheappearanceofabookasfineasTheHawLanterncannothelpbutcommandourattention.
OtherwisewemaysufferthesamemissedopportunityasthedispiritedwitnessesHeaneywritesof,theirdisillusionmentcompleteonce"theexperts/Begantheirpostfactumjabber,"andJustlikethat,weforgotthatthevisionwasours,OuronechancetoknowtheincomparableAnddivetothefuture.
WhatmighthavebeenoriginWedissipatedinnews.
TheclarifiedplaceHadretrievedneitherusnoritselfexceptYoucouldsaywesurvived.
***Tofollowontheheelsofareviewadvocatingsomeoneelse'sbookasoneofthemostimportanttoappearinagenerationisasunluckyasitisunfair.
WhatfurthercomplicatesmisfortuneisthatDerekWalcott'snewcollection,TheArkansasTestament,happenstobededicatedtoHeaney.
Ilmigliorfahbrooneistemptedtoadd,forthoughWalcotthasonceagainprovideduswithsomeofthemostvolcanicandincantatorywritingtobefoundanywhere,thebookasawholesuffersfromanunbecomingslacknessinbothcontentandcraft.
FewpoetswritingtodaycaninfusetheirworkwithasmuchdramaascanWalcottathisbest,butevenhislastcollection,Midsummer,madeitpossibletoquestionwhetherhewaswritingabouttheselfembattledbyhistory,orifsomehowthethreadsoftoomanypotentiallyfinepoemsgotseveredbythemanglingself-dramaeruptingwithinthem.
Asinhisotherworks,Walcott'smostcompellingthemeremainsthedivisionhefeelsasamanborntoasubjectnationwhileknowingthathis190ownliberationhasbeengainedbymasteringthespeechofthosewhohaveenslavedhispeopleforcenturies.
TheArkansasTestamentgraphicallyillustratesthisunbridgeablegapinpresentingtwosections,"Here"and"Elsewhere,"muchlikethe"North"and"South"divisionofTheFortunateTraveller.
Similarly,in"CuldeSacValley,"aswellasinmostofthepoemssetinTrinidad,Walcottdirectlyaddresseshisneedtopayhomagetohisheritage,thoughmostoftenthetributeismadeintheking'sfinest:Apanelofsunriseonahillsideshopgavethesestanzastheirstiltedshape.
Ifmycraftisblest;ifthishandisasaccurate,ashonestastheircarpenter's,everyframe,intentonitsangles,wouldechothissettlementofunpaintedwoodasconsonantsscrolloffmyshavingplaneinthefragrantCreoleoftheirnativegrain.
Buttheproblem,ofcourse,isthattheydonot;Walcottisasentrappedaseverinhavingtotellusaboutthewellpointofhislifeandartratherthandemonstratingitthroughitsownnativevibrancy.
Thisisnottosaythatit'sanuninterestingparadox,northatthepoetisnotawareofithimself.
Sincepoemsasbeautifulas"TheSchoonerFlight"andtheepicAnotherLifehaveshownhowablyhecanhandleandintegratetheislandpatoiswithinstrictEnglishlyrics,itisclearlynotjustaproblemofthepoethavingabandonedhispastanditsspeechcompletely.
Instead,therealissueatstakeisthegreyareawherepoetryreluctantlycrossesoverintopolitics.
191WritingagainaboutTrinidad,itspeople,theirsubjugation,andhisrelationshiptoeach,Walcottdirectshismostpointedaccusationathimselfwhenspeakingof"RoseauValley":HowgreenandsweetIkeptittomyagingsoul!
Itshineswhenamuscularwindhassweptitwithashadowyscythe,butmylinesledtowhatTheyprovidednocomfortliketheFrenchpriests'ortheWorkersHymnthatdividedheavenfromawageincrease,thislanguagethatoffereditslovefewcouldread,thosecropperswhosharedcommunion'sprofitsortheUnion's,forafewcoppers.
Howevertrueorpainfulthesentimentexpressedheremightsound,italsoasksfortoomuch.
Walcottpossessesaneducatedandincisivemind;"thosecroppers"donot.
Therefore,toaskthathislinesfulfillthesameimmediacyascommunionortheWorkersHymn,orsimplytoregretthattheyhavenot,istoruntheriskofabusinghispositionasapoetbydesiringpoliticalpopularityratherthanattendingtopoetry'ssolitaryvocation.
Whatthisboilsdowntoisaproblemofbothstatureandstanceoutweighingthepoem'ssubjectmatter.
In"ALatinPrimer,"Walcottturnsagaintohischildhoodandthemythicstrugglebywhichhediscoveredahaveninlanguage:Ihadnothingagainstwhichtonotchthegrowthofmyworkbutthehorizon,nolanguagebuttheshallowsinmylongwalk192home,soIshookallthehelpmyyoungrighthandcouldusefromthesand-crustedkelpofdistantliteratures.
Thebattleoftheselftoattaindefinitionisclearlythesubjectofthepoem,andthereisnodoubtwhatsoeverthatitisacompellingstory.
Thedifficulty,however,liesinthepoembeingmuchtooself-consciousofitsownends.
Weknowalmostfromthebeginninghowthepoemwillworkout,"nothing,""horizon,""language,""shallows,"andthephrasingof"youngrighthand,""sand-crustedkelp,"and"distantliteratures"settingupamelodramaticpatternofdown-and-outtransformedtosaved-andsoaringaspredictableasembroidery.
Thismayseemabithard,butsureenough,bytheendofthepoemthespeakerfindshis"voice"whenafrigatebirdsailsintotheharbor,raises"itsembleminthecirrus,"andthenfliesoff"beyondthesheep-nibbledcolumns/offallenmarbletrees,/ortherooflesspillarsonce/sacredtoHercules.
"Allsaidanddone,weareleftwithaposeratherthanapoint,anditiseasytofeelcheatednomatterhowstrikingtheposemaybe.
Athisbest,Walcotthimselfarguesagainstsuchattitudinizing.
Wheneverhereturnshissightstohorizonlevelandletstheeyesimplyreportwhatthesoulmustbear,theeffectcanbechilling.
Hereistheendof"Gros-Ilet,"anotherpoemsetintheCaribbean:Therearedifferentcandlesandcustomshere,thedeadaredifferent.
Differentshellsguardtheirgraves.
Therearedistinctionsbeyondtheparadiseofourhorizon.
Thisisnotthegrape-purpleAegean.
Thereisnowinehere,nocheese,thealmondsaregreen,theseagrapesbitter,thelanguageisthatofslaves.
Ironically,hedeniesheretheverysameHerculeanstagepropswhichmarredtheearlierpoem.
The"horizon"and"language"showuponceagain,buttheyarementionedratherthanchanted,arepartofawovenfabricratherthanasurfaceeffect,anditisagrim,relentlesscadencewhichcarriesthelinesasopposedtoallusionsandgesturingsproppinguptheset.
193Similarly,in"OcanoNox,"Walcottagaincutsagainstthegrainofhislearningbyrefusingthestanceoftheclassicalpoetwritingaboutthemoon'sbrightmystery,surprisingevenhimselfwhenhefocuseshisattentionontheblacknesssurroundingit:"Blackisthebeautyofthebrightestday,"blackthecircumferencearoundherringsthatradiatefromblackinvisibly,blackisthemusicwhichherroundmouthsings,blackisthebackclothonwhichdiademsshine,black,night'sperfection,whichconcealsitsflawsexceptthecrackofthehorizonline;nowallischangingbutmyfocuswasonceonthefullmoon,notwhatsurroundsthemoon,uponawatchman'sflashlightnotthewatchman,themesmerizingwakeofHistory.
Liberatingandincantatory,hisvoicereturnsheretothehighroad,butforquitedifferentreasons.
ThisisapoetinvestigatingtheargumentofandwithhimselfinthefaceofHistorywhileatthesametimebracinghimselfforhumandefeat.
Becausehisconsciousnessarrivesatnothingmorethan"thatblankface/.
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History'sinnocenceoritsremorse,"thereisnothingleftbuttoacceptandembrace,boththepoetandthepoemgivingthemselvesoverinthelaststanzatothedeepsleepnecessarytoreawakening:Ascribblingplagueofrainflies.
Gotobed.
Afterthemorningrain,theshudderingalmondwillshaketheseatofnightmarefromitsbenthead.
Thesurfwillsmooththesand'spageandeventhecumulichangetheirideaofheavenasthesunwipesthenibofapalmfrond,andfromthewethills,parishesofbirdstestanewtongue,becausethesearetheirshores,whiletheoldmoongapesatalossforwordslikeanyghostatcockcrow,asaforcethreshesthepalms,liftingtheirheartsandyours.
194IfthereisoneadvantagetotheunevennessofthevolumeasawholeitisthatWalcottisclearlystrugglingwithhisroleasapoetwhohasdedicatedhiscareertowritingaboutthevictim'scircumstances.
In"Elsewhere,"apoemdedicatedtoStephenSpender,hefacesthecripplingparadoxsharedbyalltwentieth-centuryartists,namely,howtoaddressthehorrorssufferedbythemasseswithoutsimplyconsumingsuchsufferingasartisticfodder.
Theanswerisproblematic,buttoaskthequestionisthefirststep,andthereisahard-linednobilityinvolvedinthewayinwhichWalcottownsuptothepredicament:Throughtheseblackbarshollowedfacesstare.
Fingersgripthecrossbarsofthesestanzasanditishere,becausesomewhereelsetheirstaresfogintooblivionthinly,likethefacelessnumbersthatbewilderyouinyourtelephonediary.
Likelastyear'smassacres.
Theworldisblameless.
Thedarkercrimeistomakeacareerofconscience,tofeelthroughourownnervesthesilentscreamofwinterbranches,wondersreadassigns.
Onecouldeasilywishformorecontemporaryworkasengagedandprobingasthis,aswellasformoreofitinthebook'ssecondhalf.
Thoughtherearecompellingpoemsaboutthedifficultyofportrayinghistory,"Steam"and"SundayintheOldRepublic"beingtwoofthebest,therearealsoanumberofmorepersonalpiecesaboutloveandlossthatareoftencloudedbyself-indulgence.
Onlywiththecollection'stitlepoemdoesWalcottdisplayhismostpressingconcern,onewhichmarksthefirstnewturninhispoetryinrecentyears.
Consistingoftwenty-foursectionsofsixteen-linestanzas,"TheArkansasTestament"isWalcott'smostdistinctlyAmericanpoemtodate.
ThoughhehaspreviouslydemonstratedhistalentforsumminguptheAmericansceneinaflashmuchlikeLowell,theplainnessofbothdiction195andimagerysetsthisworkapart.
GonearetheexoticsurroundsoftheCaribbean,aswellastheloftyborrowingsfromliteratureandmyth.
LocatedsimplyinadingymotelroominFayetteville,Arkansas,thepoemtempersitsownmessagebyallowingitselftofilternaturallyoutofthelocalizedscene.
Hence,whenreturningtothemotelaftersearchingoutcoffeeintheearlyhoursandfeelinghisrageagainstprejudiceerupting,hisurgetonameitasbeinginherenttothehillsshadowinghispathisallthemoreconvincing:Onfrontporcheseveryweaklampwentout;ontheframewindowsdaybroadenedintotheproseofanaveragemid-Americantown.
Mymeterdroppeditslimp.
SunlightfloodedArkansas.
Coldsunshine.
Ihadtodrawmycoattightfromthecold,orsufferthenipsofarthritis,thesmallarrowsthatcomewithage;thesunbegantomassagetheneedlesinthehill'sshoulderwithitsbalsam,buthairsfallonmycollarasIwritethisinshorterdays,darkeryears,morehatred,moreracialrage.
Therhymeof"age"with"rage"indicateshereapersonalfurywhichWalcottsometimestooeasilyturnsintoasweepinghistoricalpronouncementinsomanyofhispoems.
Instead,bygivinghimselfovertosuchangerandallowingittospeakopenlyandwithoutflourish,heestablishesacertainsenseofemotionalauthority.
Atthepoem'sclimaxthisalsoallowshimtochargeGod,Country,andGovernmentbystandingbeforethemasafleshandbloodvictimratherthanjustamemberofapoetictribe:this,Sir,ismyOffice,myArkansasTestament,196mytwocupfulsofCowardice,mysure,unshavenSalvation,mypeople'spredicament.
Blesstheincreasingblissoftrucktiresoverasphalt,andthesestainsIcannotremovefromtheself-soiledheart.
Thisnoon,somebroad-backedmaid,half-Indianperhaps,willsmooththiswheat-coloureddoublebed,andafternoonsunwillreprintthebarsofaflagwhoseclothovermotel,steeple,andprecinctmusthealthestripesandthescars.
Thoughsomewhatgrandioseandrhetorical,thelanguagehereadherestotheoccasionratherthanbeingtheoccasionitself.
WithinitistheessenceofhellfirespeechsocommontotheurgeforjusticeandchangeintheAmericandemocraticexperience.
Clearly,Walcottiswritingwithhiseartogroundhere,andonealmostwishesthathewoulddedicatehisnextbooktoapurestrainofAmericanspeechandimagery.
ThismightcutagainsthisneedtoagaincometotermswithTrinidadandhisheritage,butwithoutLowell'svolcanicgeniustoguideus,weareoftenlosttotheprovincesinacountrythislarge.
Walcottmightbeabletoproduceavisionofourselveswhichweareeithertoocaughtupinorbefuddledbytoseeclearly.
Inanycase,heknowsthecultureaswellaswedo,ifnotbetter,fortheexile'svisionis,almostbynecessity,twenty-twenty.
***PeterViereckhasattemptedwhat,tomany,wouldseemtheimpossible.
ArcherintheMarrowisnoneotherthanareligiousepicwrittenasaversedramawithGod,theSon,andManasitsprinciplecharacters.
Ontopofthis,itisinnowaymeanttobetakenasjustanotherpieceofscholarlyclassicism,foritsargumentisdirectedspecificallyattwentieth-centuryhumankind.
Writteninajazzyidiompunctuatedbycountlessquipsandone-liners,itsreachextendsfromGalileetoL.
A.
,OlympustoAuschwitz,andcoversinbetweensuchdiversetopicsasTheFall,evolution,197technology,theHolocaust,nature,computers,andevenpornmovies.
Itisbrilliantandambitious,acontemporaryParadiseLosttwentyyearsinthemaking,andinmanywaysakeyglosstoallofhumanhistory.
However,asapoemitisalsodeeplyflawed;butmoreonthislater.
TheshadowViereckwishestopleasethroughoutthebookisthatofNietzsche.
HehimselfpointsoutinafootnotethatquotesfromNietzscheheadlineamajorityofthetwenty-eightsections,eighteenofwhicharelabeledas"cycles,"whileanepigraphtoPartThreeisperhapsthebestsummationofViereck'sownaestheticthroughout.
WritinginEcceHomo,Nietzschestates,"IobeymyDionysiannature,whichdoesnotknowhowtoseparatenegationfromaffirmation.
"Thereisanincredibleamountofnegationinthisbook,butitsvectordoesindeedpointtoanaffirmingflame.
Godisportrayedasaleeringbrute,coldanddevoidofcompassion,hiswise-crackicyretortstothepleasoftheSonandYou(Viereck'spronounforamale/femaleinnervoicelocatedinthepresent)addressingeachasaplaythingforhisluridpleasure.
ItgoeswithoutsayingthatneithertheSonorYouishappywiththisrole,butforthegreaterpartofthebooknotmuchcanbedoneaboutit.
TheSon,clearlyrepresentingJesus,butalsolinkedtothesacrificedDionysius,wishestorewritehislinesandwashhishandsofanyspiritualshenaniganscookedupforhimbytheFather.
Meanwhile,Youistrappedsomewherebetweenthetwo,theSonhavingtakenhisside,thoughhisownstrugglewithnecessity,death,andcreationpitshimheadtoheadagainsttheFather.
Thisisthebasicdramaticpremiseofthepoem,bothitsdevelopmentandexpressionsharingthiskindofjauntyapproach.
UndertheVaudevilleansurfacetexture,however,Viereckhasbeenextremelycarefultosetupasystemofmotifsthatconstantlyweaveinandoutofeachotherandsupporttheargument'sstructureasawhole.
Infact,inoneofhisprefaceshegoessofarastopullouttheessentialstandtakenbyeachofthecharacters,theSonbeginningwith:Toysdon'tknowthey'retoys.
Iftheydo,they'renot.
AthingornotathingAcircleoradot198"Toys"representinghumanbeingsandthemannerinwhichtheyaretheplaythingsoftheFather'somnipotence,thequestionof"circle"or"dot"revolvesonwhetheranindividualisjustathingoraneverexpandingcircleofconsciousnessandbeing.
Ifthelatter,thenGod'sthrottle-holdoncreationischallengedbyman'sabilitytoimagineandmake.
TheFather,however,seemsquiteconfidentofhispower,claiming:Whendotsarecircles,staringback,Andyesaffirmsthemlessthanno,Whendowngetsuppityandupswingslow,Nottillthencanheavencrack.
Ontheotherhand,intakingthesideofYou,theSonisquicktonotethatman'sconsciousnessofhisownendisalsowhatkeepsYoufromremainingaperfecttoy,wordlessandblank:MyfatherwholooksasideAssumedblankfacesonthetoyshetried.
Ihavelearntdifferent,beingsentinside.
Inautumnonlymanisheavy-eyed.
Besideschallenginghisfather,theSonisalsoadamantabouthistakinghisplacebesideYouwhile"defectingtothesideofclay.
"AlongwiththishecallstheFather"ademon"whoexiledDionysius,Aphrodite,andEveasspiritswhowerethelastvestigesofman'shumanitybeforenecessityturnedhimintoasimpletool.
Hence,thechoiceleftopentoYouiswhetherornothewillseizehisloveandknowledge(EveandtheGarden'sapple),aswellashiscapacityforgrowthandbeauty(DionysiusandAphrodite),andthustransformandrefashionChrist'sburdensomecrossbycarvingitsapplewoodintoarrowsaimedatGod'szealotry:"IfacrossisbutlumberGodborrowsFromatreethat'suntouchablyGods',IfEve'sbutanexileGodharrowsFromthegreenestofalltheworld'swoods,IfthefoambornghostinourmarrowsIsbutfrozen,awaitingspringfloods,CanwecarvewarmapplewoodarrowstoarmTouchableQods*199Theanswertothiswouldappeartobeaforegone"yes,"butjusthowitisarrivedatandwhatshapetheanswerwilltakeiswhatconcernsViereck.
Sincethesonnolongerwishestobepartofhisfather'sroadshow,andYoudoesnotseemcapableofsingle-handedlyoverthrowingGod'spower,someotherbeingorsystemofbeliefmustappearasthecatalystformantoonceagainknownatureandinventionaswellashis"lungfish"ancestordidwhensuckinghisfirstmouthfulofairaspreparationforwhatthepoetcalls"thesky-invadingweaponknownashumansong.
"Sufficeittosaythat"TheArcher"whoarrivesinthepoem'slastcycleisanamalgamofChrist,Dionysius,Eve,andAphrodite,a"goatfootJesusonthevillagegreen"intheeyesofYou.
Viereck'sprogresstowardsthisendismuchtoolongandcomplexanundertakingtosummarizehereindetail,whileitisalsotruethat,aswithanygoodread,oneisreluctanttogiveawaytheplot.
Leaningmoretowardsthequestionof"whowilldoit"asopposedto"whodunit,"Viereck'sdramaispresentedasareconsiderationoftheplaceofhumankindinrelationtobothitselfandtheheavens.
Forhim,weareatthefinalbrink,andthepressurehemountsthroughstagedirectionswhichreadascommands"youthink.
.
.
youfeel.
.
.
youargue"isatacticforinvolvingusdirectlyinthecrisisexperiencedbythegenericYou.
Thus,weareasmuchapartoftheargumentasthecharactersthemselves,Viereck'scatechismofNietzscheanrevoltbeingaimedatourownsalvation.
Butwhetherornotitisgoodpoetryisquiteanotherquestion.
ThefactthatViereckattemptstoresuscitateepic,dramatic,anddidacticverseallinoneshotisinitselftroublesome.
Butsobeit.
Thereisnothingwrongwithreinvigoratingpoetictradition,anditcanberefreshingtoreadsomethingwhichdarestostepbeyondthestandardlyricmode.
Similarly,Viereckhasworkedveryhardtoenlivenhisspeechwithsyncopated,streetwiserhythmswhichlenditacontemporaryflavorgivendeepersustenancethroughthepoet'sattentiontoform.
Theproblem,however,iswhensuchanattemptremainsalltooobviousandblatantinitsefforttojointhecanon.
Thereissomethingnobleaboutthefactthatinthishastyagesomeonewouldspendtwentyyearsworkingonasinglebook-lengthpoem,butapainfulsadnessalsoexistswhenthisreallyshows.
Howeverbrilliantorprovocative,ArcherintheMarrowissimplytoopolishedtobeperfect;itsintricatearchitectureofsymbols,allusions,andmotifsdenyitthefeelofhavingsprungfromnecessityratherthanaclevernotion,orfromgeniusasopposedtohonestandbroadlearning.
200Thisisnottosaythateveryworkofnotemuststrikehomeasthebe-allandend-allofitsgenre,foritisimportanttoemphasizethatViereck'sisastunningachievement.
Yetthetwoareaswhereitrunsintotroubleareinitsvoiceanditsdramaticintegrity.
Therearecountlessexamplesoftheformer'sslapsticknature,thismini-dialoguebetweenYouandGodworkingaswellasany:(youphoning,thefather:LongDistance)"Clickclick.
Connectmewiththefather.
What'sthefee"Thefeeisyou.
Sir,pleaseinsertyourdust.
"Can'tIplunkcoinsinMust-it-be"Thisisarecording:yes-it-must.
"Click.
Information.
Amlockedinmyroom.
"ForOperatordial0intomb.
"MyheartclicksfasterinthewarmerO,Tombshackneyedwomb-rhyme.
"Whatawaytogo.
"Godsprowlbothooms(askLazarus,askMary)Likeplainclothes-meninairports.
"Eitherquarry(AskOrpheusbeforeandafter)knowsMynameis"Eros"Eros-Thanatos.
Thecompressedlearningandinventionoftheselinesisunquestionable,buttosustainthiskindofsardonichilarityoversometwo-hundredpagesisaskingfortrouble.
Foronething,whencharacterslargelyfunctionasameansforrattlingoffthenextjoke,theyquicklylosesignificance.
Secondly,likecomicsplayingthecrowdonaroll,theyleapatthenextlaughratherthangetoffthestageintimeforthenextact.
Sometwenty-fivepageslaterwearetreatedtoyetanothersonganddancebyGodandYou,butthequestionthatlingersiswhetherornotthenarrativehasprogressedinthemeantime:"Freebothmylife-sapstoflowhometothesea.
"Patronizeyourlocalgallows-tree.
201"ThestenchofsaggingfruitFruit'shomewardooze"It'salwaysautumninahangman'snoose.
"Cantherebewatersonlyfiresquench"WhenhangedandhangmanpairThroughthefiercewoodtheyshare,It'sthreewhomate.
"AndmixtheirbrinesOfwhiteandredandoak-sapwines"Tillshiveringcrablicefleethecoolinghair.
Clearlyithasnot,nomatterhowcleverordaringthewitthatcomesbetween,andthismakesiteasytobecomeimpatient.
Suchabuseofthepoem'scharactersalsopreventstheworkfromeversustaininganextendedsenseofdrama.
Toooftenweareforcedtogobackoverfamiliarground,thoughitdoesappearthisispartofViereck'sintentintryingtoinvolveusintheprocessofpurgation.
Butinapanachedevoidofcharactersinfluxitishardtostickaroundfortheentireride.
TheonlytruefluctuationwegetinactioniswhenYouortheSonaddressesanoff-stagefemalefigurerepresentingEve,Aphrodite,andwhatthepoetseesasthehealingwarmthofwomen.
Infact,thesearethetimeswhenthepoethimselfseemstoenterintothepoem,thetendernesswithwhichtheSonspeaksthefollowinglinesbeingoutofcontextwiththerestofthepoem:IfblossomscouldblossomOnepetalofpetalsTowhomallotherbloomsareAsleavesaretoflowers,ItwouldbetotheothersAsyouare,mydaughter,toallotherdaughtersWhomsongsareadoring.
ForwhatamIhereforIfnottomakelove-songsOfalltheworld'sbeautyWhosebirthdayweshare202OnemightbequicktocriticizeViereck'sstylizeddictionhere,butheisclearaboutallegiancetoform,evengoingsofarastoincludealengthyappendixdiscussinghisviewsonrhythm,rhyme,andmeter.
Thelargerproblemisthattheepicdemandsbothvariationandconsistencyfromitscharacterssuchthatwegrowthroughthemandarenotjustyankedbythenosetowardsthepoet'svision.
BycontrastitisusefultoconsiderMilton'sSatan,afigurewhoseprincelynatureisorganictothepoem'sdrama.
Whilethefactthatheisgivensuchaterrificpartiswhatinformsusaboutthepoet'sowndaring.
NowheredoesViereckseemtobegamblingsuchhighstakes,thoughhismotivationandintentcertainlyarepressing.
Intheend,ArcherintheMarrowremainsalltooprogramatictobecompellingaseitherpoemordrama,Viereckhavingburdenedhischaracterswithtoomuchofhisowndesigningmuchlikethecruelnecessitytheysoferventlybattleagainst.
Poetrygearedtowardsasextensiveandelaborateavisionasthishasbeenoutofstyleforquitesometimenow.
Interestinglyenough,thoughHeaneyandWalcottremainfaithfultotheclassicallyric,theyarealsoattemptingtodrivetheirpoemsbeyondthenarrowlimitsoffixedexperience,andinallthreecasestheresultsarebothinstructiveandliberating.
Eachofthesevolumesisambitious;andeachdeservesourattention.
ThoughVierecktakesthegreaterrisk,andinawayisriskingthemostworthwhileoffailures,eachofthesepoetsdemonstratesawillingnesstoinfusehisworkwithnewdirection,visionreborn.
Onemightevengosofarastosaythatwithworkasvigorousandworldlyasisevidenthere,poetrymighthaveachanceofescapingitscurrentplainstyledoldrums,aswellasitslackofsomethingtosaybeyondthelimited"Iexist.
"Nodoubtitisatallordertofill,buttojumpbacktoHeaney'sown"MudVision"anditsfinalassertion,perhapsthisisthespursuchapossibilityneeds:Sosaythat,andwatchusWhohadourchancetobemud-men,convincedandestranged,Figureinourowneyesfortheeyesoftheworld.
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