These Farmhouse Bookshelves

We don’t read poetry any longer, do we?

Oh, a bit here and there, and some of us more than others, but we’re much more likely to end our days with reality television than The Oxford Book of English Verse, aren’t we?

I often wonder why this is. Is it because we are so accustomed to the easy and comfortable we avoid using our spare time for anything that requires real effort? And I won’t fool you. Poetry requires effort. It asks that we meet it at least halfway.

We must quiet our minds (and our stereo speakers). We must slow down (no one ever speed-read a poem). We must re-read (a good poem can’t ever be checked as “read” on our reading lists and tracking apps; poetry happens in the re-reading).

All I really know is that I’ve hesitated to recommend poetry books in this space. I want to make you happy, and I’ve decided happiness means novels, memoirs, cookbooks, and picture books.

and more books

 

I read this article and realized that poetry is worth more than life to some people. They will risk everything for what it gives.

The least I can do is share a few recommendations with you.

Also, I can make this promise – tonight, when my children are (finally) asleep, I will not turn on my television. I will not pick up my big, fat novel. Instead, I will re-read, and I will remember. I will remember that my life is something different, something better, because I have read Yeats and Auden, Bishop and Heaney.

And these. I have read these:

I have read George Herbert.

One of the great English metaphysical poets (poets known for their elaborate imagery), Herbert was a priest in the Church of England and a friend of John Donne. His religious poetry is beautiful, desperate, and honest. But this is not confession (or not merely); it is art. It is art that dramatizes and explores the encounter between the flawed, sinful self and a God who is Love.

Herbert’s poems are intricately crafted. They reward the time we spend with them.

A verse may finde him, who a sermon flies, / And turn delight into a sacrifice.  – George Herbert

I have read Eavan Boland.

I can’t recommend poetry without recommending the work of this contemporary Irish poet. Boland writes about home, about motherhood, about what it means to create beautiful art out of the raw materials of violence, loss, and the various troubles of history. Her work is accessible, but it is not superficial. It rewards our first reading, but it gives more with subsequent readings.

I suggest picking up a single volume of her work (rather than a collection or the few poems you might find in an anthology). Reading poetry is like music in this regard – poets write poems the way musicians create albums. It is one thing to know a hit single in isolation; it is entirely another to know what has been created when the artist gathers their work into a whole.

I often return to her volume In a Time of Violence. You might start there.

Write us out of the poem. Make us human / in cadences of change and mortal pain / and words we can grow old and die in. – Eavan Boland

I have read everything ever published by T. S. Eliot. But, always and especially, I have read Four Quartets.

Eliot was the first poet who ever made me love poetry. I was a teenager, and I was mesmerized by the rhythms of “The Love Song of J. Alfred Prufrock.” Now I don’t often go back to Prufrock and his coffee spoons (though the first lines of that poem are impossible for me to forget), but I return, more and more often, in fact, to Four Quartets.

There are times when an imperfect little art (like a quirky little poem) will suffice. It is like us: small yet precious, strange but lovely. There are other times when we need an art that hints at something much bigger and more perfect. Four Quartets is like that for me. It is  big enough to move in, big enough to dream in, big enough to inspire your own creativity. It is Art-with-a-capital-A, and some days that is what my own little life needs most of all.

With the drawing of this Love and the voice of this Calling // We shall not cease from exploration / And the end of all our exploring / Will be to arrive where we started / And know the place for the first time. – T. S. Eliot

Do you read poetry? Why? Why not? I’d love to know.

 

 

This is How to Listen, This is How to Hear

There were years when a little flag would start waving in my head any time I heard someone say God told me to do this or God told me to do that.

A red flag.

It sounded too much like crazy-talk. I’d never heard God’s voice, so what makes you sure? What makes you special?

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44/52 muted tones

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Now I am that crazy person.

I’m the one setting eyes to roll with my casual God told us this and God gave us a dream, and, the boldest of all, God promised …

That’s the big one, isn’t it? Talk of promises is crazy and dangerous all at once. To talk about promises is to set oneself up as special and risk looking like a fool.

I am that fool.

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This is how I got here: desperation. It was the not having, the hurting, the longing, and the pain.

It was that one time I threw my Bible against the wall. I could see the pages bent and the cover smashed, but I could also see words that were so comforting, so particular, I was tempted to make Bible-throwing a regular spiritual discipline.

It was that time I screamed at heaven, until I turned the corner around the clump of trees and saw an optical-illusion moon so enormous and fiery I couldn’t tell what it was. But I heard it. It said, “I’m here. You’ve been heard.”

Sometimes, it wasn’t pain so much as utter emptiness. When there are no friends and no activities, when the phone never rings and you’ve given up the job you pursued for ten years, small things begin to sound very loud.

Like the verse that pastor shared from the front. I was one of a crowd, but those words were an arrow and I was the mark.

Like the song that came over the speakers just as I asked my question aloud. That song with the answer.

Or, all those times (so many times) when all I could do was open my Bible on my lap.

And that’s all it took. Because there it was. Right there.

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I’m wary of prescriptions, of three-step plans. But if you want to hear the voice of God (and think very, very carefully whether or not you do), then this is what I suggest:

Lean in to the pain. 

Listen to the silence.

Let the emptiness be just what it is.

And wait.

 

 

44/52 muted tones

These Farmhouse Bookshelves

I think this is the first Friday evening when I have not been excited to sit down and give you another peak at my bookshelves. The reason? I’m in the middle of a new book, and I would really rather be reading.

My internet connection was out all day, and I was secretly thrilled. It meant I felt a little less guilty propping the baby in her bouncy seat and getting back to Major Pettigrew’s Last Stand by Helen Simonson.

However, since I have one of you to thank for this book recommendation, and I want to keep the good times rolling, here are three more books for your reading pleasure.

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considering the garden...
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Today, I’m giving you characters.

When I read novels what I want more than anything – more than a great plot or beautiful language – is character. I want human beings who are so fully realized, so perfectly flawed yet sympathetic, that I struggle to believe they have been created out of nothing more than the alphabet.

Cassandra Mortmain is a marvel of a narrator. She is the wonderfully awkward heroine of Dodie Smith’s 1948 novel I Capture the Castle. The incredible thing about this novel is that the narrator, who hovers somewhere between childhood and adulthood, does not know herself and yet she fully reveals herself to us. We have only her words, but we know things she is only slowly discovering.

This novel is sweet, funny, and over-the-top in so many good ways. We have a crumbling English castle, first love, eccentrics around every corner, and poverty that is a little worse than genteel. Cassandra, like the story she tells, is a gem.

And no bathroom on earth will will make up for marrying a bearded man you hate. – Dodie Smith

Next, I give you a character who is much darker and more mysterious. He is a young, Irish police detective, and he is the narrator of In the Woods by Tana French.

French writes what some have called “literary mystery thrillers.” Literary is a rather inadequate word, but what it should tell you is that French is an incredible writer. In particular, she has a gift for characters.

Although the plot will keep you turning pages late at night (my life pretty much comes to a standstill whenever French publishes a new book), if you value plot (especially those of the neat and tidy variety) you may be disappointed.

I think I love French’s books because, though they are atmospheric and wildly creative, I find them to be more honest than most mysteries. French gives us compelling characters and page-turning stories, but she does not pretend that all mysteries can be solved, that all questions can be answered, or that the past can always be known.

What I am telling you, before you begin my story, is this – two things: I crave truth. And I lie. – Tana French

I am always amazed that one small island can produce so many gifted writers. Here is another: the Irish writer Colm Toibin. Brooklyn: A Novel is told by Eilis Lacey. She is a young woman who has grown up in a small Irish town just after the second world war. Sponsored by a priest, Lacey leaves her family and goes, alone, to make a new life in America.

This is a quiet book. Beginning it, you may find it too easy to put it down and forget to pick it up again. Don’t do this: you are in the hands of a master. Turning pages you will begin to care for Eilis, you will see the world through her naive but curious eyes, and you will know, having turned the last page, that you have been richly rewarded.

‘She has gone back to Brooklyn,’ her mother would say. – Colm Toibin

Tell me, who are the characters you especially love?

 

You can find earlier recommendations here: week one, week two, week three, week four, week five, week six, week seven, and week eight.

 

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