Tag: writing

A Poet Reminisces: Essays After Eighty

ows_141652973541643I have always liked poetry and poets, in particular, because of their sensitivity to human experience.

One poet I like a lot is Donald Hall, a giant among contemporary American poets, although he’s given up the craft, or as he puts it, since “poetry abandoned him.”

Hall is now 85.

Let me assure you, while the tropes may not come as easily as before, his acuity remains vibrant in his newest book, Essays After Eighty, a slim volume of 120 pages, yet filled with reminiscence, keen observation, and sober wisdom.

I first got introduced to Hall by way of his textbook, Writing Well, which I used for a number of years in teaching college composition. The book lived up to its title, emphasizing sentence clarity and how to achieve it, with eloquence added in.

Hall has always been a diligent stylist, whether writing poetry or prose. He confesses that he’s written some individual essay drafts for Essays After Eighty upwards of eighty times to get things said right.

I used to tell my students that the name of the game in all good writing lay in revision, pointing out that scholars have come upon nearly fifty drafts of Yeat’s famed “Second Coming” poem.

I like how Hall says it: “The greatest pleasure in writing is rewriting. My early drafts are always wretched.”

I’ve always held that a good style is etched by its economy, the right words sufficing for empty fillers drowning readers in verbosity; a pleasing rhythm like waves, in and out, upon a sea shore.

Good prose, like poetry, runs lean.

And Hall is the great master.

Let me give you a sampling of Hall’s trademark writing acumen, simple, yet keen with observation, each detail chosen well, verbs especially, accumulating into a verbal, painting, reflecting the ethos of a skilled artisan:

In spring, when the feeder is down, stowed away in the toolshed until October, I watch the fat robins come back, bluejays that harass them, warblers, red-winged blackbirds, thrushes, orioles. Mourning doves crouch in the grass, nibbling seeds. A robin returns each year to refurbish her nest after the wintry ravage. She adds new straw, twigs and lint. Soon enough she lays eggs, sets on them with short excursions for food, then tends to three or four small beaks that open for her scavenging. Before long, the infants stand, spread and clench their wings, peer at their surroundings, and fly away. I cherish them….

Reminiscence weighs heavily upon these essays, not surprising for a writer in his mid-eighties. the ghosts, as it were, looming out of the past–grandparents, Mom and Dad, aunts and uncles, friends;  wife Jane Kenyon, the love of his life and fellow poet, succumbing unexpectedly to cancer at age 47.

Even the northern New Hampshire topography has yielded to change, farms giving way to rebirth of forest as the new generation migrates to the prosperous cities of southern New Hampshire.

As I read this moving collection of personal reflections on sundry topics, I made sure to highlight a number of striking passages, and some of them I’ll share with you.

On writing:

As I work on clauses and commas, I understand that rhythm and cadence have little to do with import, but they should carry the reader on a pleasurable journey.

If the essay doesn’t include contraries, however small they be, the essay fails.

Nine-tenths of the poets who win prizes and praises, who are applauded the most, who are treated everywhere like emperors–or like statues of emperors–will go unread in thirty years.

I count it an honor that in 1975 I gave up lifetime tenure, medical expenses, and a pension in exchange for forty joyous years of freelance writing.

I expect my immortality to expire five minutes after my funeral. Literature is a zero-sum game. One poet revives; another gets deader.

On aging:

When I limped into my eighties, my readings altered, as everything did.

In the past I was advised to live in the moment. Now what else can I do.?

On leisure:

Everyone who concentrates all day, in the evening needs to let the half-wit out for a walk.

On mortality:

It is sensible of me to realize that I will die one of these days. I will not pass away.

At some time in my seventies, death stopped being interesting. I no longer checked out ages in obituaries.

These days most old people die in profit-making dormitories. Their loving sons and daughters are busy and don’t want to forgo the routine of their lives.

Essays After Eighty has been a wonderful read for me with its acerbic wit, cogent wisdom, delivered in a simple, yet elegant, style, proving again that the best art conceals itself.

And yet there’s a melancholy that haunts these excursions into reminiscence, a sense that the best is over and, now, there’s just the waiting. As Hall confesses, “My problem isn’t death, but old age.”

Hall, of course, is addressing physical decline with its imposed limitations and dreaded dependency; but surely his words resonate still more–the sense of ephemerality that mocks our labors and brings to an end all that we love most dearly.

For Hall, “There are no happy endings, because if things are happy, they have not ended.”

Still, this work, perhaps his last, formulates a testimony to a life lived well.

And, very rarely, do you find such honest telling.

–rj

Being Mortal

gawandeI’ve just finished reading Being Mortal: What Matters in the End by Dr. Atul Gawande.

I had read his previous Complications about life as a surgeon several years ago, greatly impressed.

Both books have been highly praised, with the present book listed by the New York Times as among must reads of 2014.

As a surgeon at Massachusetts General Hospital, Gawande knows what he’s writing about.

And he writes well, often movingly, in layman’s language, of death scenarios with their accompanying challenges that need to be individualized, since we’re all different.

I suspect many readers will opt to avoid a seemingly morbid subject, but that’s a mistake, for   mortality knows no exceptions and our best approach is one that, through knowledge, provides us with options.

And Gawande, a writer for the prestigious New Yorker as well as a physician, delivers–deftly, compassionately, and always with eloquence, on a difficult subject.

Moreover, his book preeminently addresses the medical community, often committed to treatment paradigms that work against the patient’s welfare.

Physicians are trained to see themselves as enhancers of health and survival. They are not taught how to handle lingering illness devoid of remedy:

…within a few years, when I came to experience surgical training and practice, I encountered patients forced to confront the realities of decline and mortality, and it did not take long to realize how unready I was to help them (3).

If your problem is fixable, we know just what to do.  But if it’s not? The fact that we have had no adequate answers to this question is troubling and has caused callousness, inhumanity, and extraordinary suffering (8).

What’s the point, anyway, of continuing chemotherapy, radiation, and surgery in terminal cases when such methodologies may involve great risk and, often, increase duress?

When, in short, should doctors, not just patients, let go?

Patients cling to hope and doctors knowingly feed into this, when frequently no regimen can procure that miracle of restoring health and dignity.

Or as Gawande vividly makes clear in his allusion to Tolstoy’s powerful tale, The Death of Ivan Ilyitch:

What tormented Ivan Ilyitch most was the deception, the lie, which for some reason they all accepted, that he was not dying but was simply ill, and he only need keep quiet and undergo a treatment and then something very good would result (2).

The ultimate challenge for physicians is to accept the restraints of biology and assist their patients to come to terms when that moment arrives

Otherwise, they can inflict considerable, even barbaric, suffering.

Doctors need to be patient-centered, addressing the patient’s best interests, and sometimes the greatest kindness entails being candid..

Ultimately, it’s about providing patients with options that preserve dignity, lessen suffering, and are in accord with the patient’s priorities.

We’ve made some progress in the now universal acceptance of Advanced Directives, though initially contested. But what about options for the terminal patient, still conscious, who lingers, often in great pain, and with perhaps even greater to come?

Gawande says that there are two dominating physician protocols: the one patronizing (this is what you should do); the other, informative (here are your scenarios).

Doctors do better when they ask the right questions of their patients in such contexts:

Whenever serious sickness or injury strikes and your body breaks down, the vital questions are the same: What is your understanding of the situation and its potential outcomes? What are your fears and what are your hopes? What are the trade-offs you are willing to make or not willing to make? And what is the course of action that best serves this understanding? (259)

Palliative care, for example, may well be a better option to further surgery, chemotherapy and radiation when the outcome may make matters worse.

On the other hand, indulging patient fantasy may invoke “a prolonged and terrible death” (4).

Gawande carries out what he advocates. For me, his account of his father’s lingering passage into mortality is deeply moving, which I think many of us can identify with in our own wrestlings with the demise of those we love.

In addition to all of you, I wish every medical practitioner would read this book.

Death isn’t an enemy, but the natural order of things.

How much better it would be in our final moments to have someone like Gawande attending–a physician, with compassion, listening and helping us discern those best options that enhance our dignity and lessen our suffering.

–rj

 

 

 

 

Why some writers succeed and others don’t

I’ve learned that people will forget what you said, people will forget what you do, but people will never forget how you made them feel (Maya Angelou).

 Writing

I like to read and I read omnivorously, whether fiction or non-fiction. I marvel at the talent and effort that lies behind all good writing, the courage of writers to pursue their craft, given the minuscule few who get published, or receive pecuniary recompense, or the public’s accolades.

I marvel at their discipline in fending off that great tempter, procrastination, for writing well doesn’t come easily and what’s tedious we most always avoid.

And then there is the ephemerality of all success that mocks their efforts, that no matter how well crafted, compelling, or discerning, that best part of a writer’s self, succumbs, inevitably, to a world busy with its own pursuits, forgotten, no longer in print, to be given away, or tossed out.

I was reminded of this when I downloaded a Gutenberg ebook freebie from more than fifty years ago with its reading recommendations of many authors I’d never heard of, though I have graduate degrees in English and taught for forty years at the college level. The list of recommended classics in our schools today is, likewise, considerably different from those I pursued, studied and taught across the years. Taste changes, fame fades, and life moves on.

Writers, nonetheless, pursue their craft against all odds and sucking sweets elsewhere for varied reasons, foremost to find acceptance and, in that best of all possible worlds, the convergence, like two mighty streams, of avocation and vocation.

Whatever, successful fiction writers must be good at seduction, alluring us with suspense, well-crafted plot embedded with conflict, intriguing characters, good dialog, an accessible style; nonfiction writers must also prove themselves good at seduction, appealing to reader interests, their quest for information and know-how, their need to feel smart. Writing is all about closing the deal. Giving readers what they want.

As readers, we like cosying up. We like being wooed.

Successful writers know this!

–rj