Showing posts sorted by date for query larkin. Sort by relevance Show all posts
Showing posts sorted by date for query larkin. Sort by relevance Show all posts

Sunday, April 20, 2025

Belief, Superstition, Disbelief

The smallest church in England?
South Downs, East Sussex
Lullington Church, 1939
James Bateman (1893 – 1959)
[and this church bell by Georgia O'Keeffe, 1917]

Church Going

Once I am sure there's nothing going on
I step inside, letting the door thud shut.
Another church: matting, seats, and stone,
And little books; sprawlings of flowers, cut
For Sunday, brownish now; some brass and stuff
Up at the holy end; the small neat organ;
And a tense, musty, unignorable silence,
Brewed God knows how long. Hatless, I take off
My cycle-clips in awkward reverence,

Move forward, run my hand around the font.
From where I stand, the roof looks almost new-
Cleaned or restored? Someone would know: I don't.
Mounting the lectern, I peruse a few
Hectoring large-scale verses, and pronounce
"Here endeth" much more loudly than I'd meant.
The echoes snigger briefly. Back at the door
I sign the book, donate an Irish sixpence,
Reflect the place was not worth stopping for.

Yet stop I did: in fact I often do,
And always end much at a loss like this,
Wondering what to look for; wondering, too,
When churches fall completely out of use
What we shall turn them into, if we shall keep
A few cathedrals chronically on show,
Their parchment, plate, and pyx in locked cases,
And let the rest rent-free to rain and sheep.
Shall we avoid them as unlucky places?

Or, after dark, will dubious women come
To make their children touch a particular stone;
Pick simples for a cancer; or on some
Advised night see walking a dead one?
Power of some sort or other will go on
In games, in riddles, seemingly at random;
But superstition, like belief, must die,
And what remains when disbelief has gone?

Grass, weedy pavement, brambles, buttress, sky,

A shape less recognizable each week,
A purpose more obscure. I wonder who
Will be the last, the very last, to seek
This place for what it was; one of the crew
That tap and jot and know what rood-lofts were?
Some ruin-bibber, randy for antique,
Or Christmas-addict, counting on a whiff
Of gown-and-bands and organ-pipes and myrrh?
Or will he be my representative,

Bored, uninformed, knowing the ghostly silt
Dispersed, yet tending to this cross of ground
Through suburb scrub because it held unspilt
So long and equably what since is found
Only in separation - marriage, and birth,
And death, and thoughts of these - for whom was built
This special shell? For, though I've no idea
What this accoutred frowsty barn is worth,
It pleases me to stand in silence here;

A serious house on serious earth it is,
In whose blent air all our compulsions meet,
Are recognised, and robed as destinies.
And that much never can be obsolete,
Since someone will forever be surprising
A hunger in himself to be more serious,
And gravitating with it to this ground,
Which, he once heard, was proper to grow wise in,

If only that so many dead lie round.


Philip Larkin (1922 - 1985)
[See also: KL & FN]
Larkin's poem is mentioned in the wikipedia entry of novelist Malcolm Bradbury (1932 - 2000): "Though Bradbury was not an orthodox religious believer, he respected the traditions and socio-cultural role of the Church of England and enjoyed visiting churches in the spirit of Philip Larkin's poem, 'Church Going.' "
Q: From Larkin's poem:
"And what remains when disbelief has gone?"

A: From Theodore Hesburgh's (1917 - 2015) essay:
"A Plea for Excellence in Higher Education"
The first fruit of a liberal education is to free a person from ignorance, which fundamentally means freedom to think, clearly and logically. Moreover, allied with this release from stupidity — nonthinking or poor thinking — is the freedom to communicate one's thoughts, hopefully with clarity, style, and grace . . .

A liberal education should also enable a person to judge, which in itself presupposes the ability to evaluate: to prefer this to that, to say this is good and that bad, or at least this is better than that. To evaluate is to prefer, to discriminate, to choose, and each of these actions presupposes a sense of values. . . . This, too, is a value judgment and a liberation from valuelessness, insecurity and despair, at times.

Liberal education, by all of these value‐laden processes, should confer a sense of peace, confidence and assurance on the person thus educated and liberate him or her from the adriftness that characterizes so many in an age of anomie [valuelessness].

Lastly, a liberal education should enable a person to humanize everything that he or she touches in life, which is to say that one is enabled not only to evaluate what one is or does, but that, in addition, one adds value consciously to relationships that might otherwise be banal or superficial or meaningless: relations to God, to one's fellow men, to one's wife or husband or children, to one's associates, one's neighborhood, one's country and world. In this way, the list of what one expects of liberal education is really a list of the very real values that alone can liberate a person from very real evils or nonvalues — stupidity, meaninglessness, inhumanity.

Hesburgh's essay is dense, but I always included it on my syllabus to give students a definition of anomie and liberal. A truly liberal (as in “freeing”) education can help you rise above conditioning and the centuries of superstition that has does nothing but damage to human culture and intellect. That’s what post-modern deconstructionism is all about — peeling down to the “first principal.”

Beyond belief, superstition, and disbelief -- what remains?

As Oscar Wilde reminds us:
"And agnosticism should have its ritual no less than faith.
It has sown its martyrs, it should reap its saints,
and praise God daily for having hidden Himself from man
.

from De Profundis

Friday, June 2, 2023

The Day That's In It

“Renew thyself completely each day;
do it again, and again, and forever again.”

King Tching Thang / quoted by Thoreau
Hanging Window Charm ~ Souvenir from Bangkok

~~~~~~~~~~~~~~

I have posted these two poems previously,
but it seems they deserve a joint appearance,
pairing so naturally, with their matching titles:

Days

What are days for?
Days are where we live.
They come, they wake us
Time and time over.
They are to be happy in:
Where can we live but days?

Ah, solving that question
Brings the priest and the doctor
In their long coats
Running over the fields.


Philip Larkin (1922 - 1985)
Days

What I admire most about days
Is their immaculate sense of timing.

They appear
inevitably
at first light

Eke
themselves out slowly
over noon

Then edge surefootedly
toward evening

To bow out
at the very soupcon
of darkness.

Spot on cue, every time.


Roger McGough (b. 1937)
(More by McGough,
a Liverpool Poet for all seasons . . . )
Another sad headstone
at the cemetery near our house.
He died barely a week beyond his 21st birthday
Sep. 8. 1818 ~ Sep. 19. 1839
"A student of the university of va."

Thursday, April 7, 2022

The Brass Rubbing Mystery

" . . . my idea of a perfect marriage is twin headstones side by side in a cemetery. . . . Whenever I went to a cemetery I always looked jealously at the names on the tombstones. Michael Rafter and Helen Rafter, James Totheroh and Ada Totheroh, Max Block and Jennie Block, names in stone beside each other forever. That was my idea of commitment. That was marriage. After years of fighting and infidelity, sexlessness and dirty looks, you could end up together in a dignified manner." (256 - 57)

~ Jennifer Belle ~
from her novel
High Maintenance
Back in the day, when Gerry and I first co-mingled our belongings, these two over - sized brass rubbings, rolled up safely in a cardboard tube, were part of the package deal. Sorting through the various options for wall hangings, we both agreed -- apparently without much discussion -- that these two prints deserved to be unrolled, framed and displayed.

For the next 15 years, they hung side by side in our various houses: first -- for 4 years -- on Covington Street in West Lafayette, Indiana; then in West Philadelphia for the next 8 years; and 3 more years in downtown Philadelphia. When at last we decided to return to Indiana, we carefully inventoried what items would or would not be making the move.
Kit: What about your brass rubbings?

Ger: My brass rubbings?

Kit: Yeah.

Ger: Those are your brass rubbings.

Kit: No, those are your brass rubbings.

Ger: Uh, no . . .

Kit: What?!?!
Neither of us could conjure up any clear -- or even hazy -- memory of how this noble pair had made their way into our lives.For 15 years, we had each been assuming that the Lord and Lady belonged to the other. Well, we couldn't leave them stranded in Philadelphia, so we brought them back to Indiana with us, hung them up in the stairwell, and have continued to wonder about their provenance for a further 18 years.

To this day, the issue has never been resolved. The brass rubbings, however, have found a new home, with a kind friend who is in the process of redecorating and agreed to adopt them despite their uncertain origins. We don't even know whose effigies they represent. Perhaps one day, it shall be revealed to us!

Thanks to friend & scholar Curtis Cottrell
for sharing the following poem:

An Arundel Tomb

Side by side, their faces blurred,
The earl and countess lie in stone,
Their proper habits vaguely shown
As jointed armour, stiffened pleat,
And that faint hint of the absurd—
The little dogs under their feet.

Such plainness of the pre-baroque
Hardly involves the eye, until
It meets his left-hand gauntlet, still
Clasped empty in the other; and
One sees, with a sharp tender shock,
His hand withdrawn, holding her hand.

They would not think to lie so long.
Such faithfulness in effigy
Was just a detail friends would see:
A sculptor’s sweet commissioned grace
Thrown off in helping to prolong
The Latin names around the base.

They would not guess how early in
Their supine stationary voyage
The air would change to soundless damage,
Turn the old tenantry away;
How soon succeeding eyes begin
To look, not read. Rigidly they

Persisted, linked, through lengths and breadths
Of time. Snow fell, undated. Light
Each summer thronged the glass. A bright
Litter of birdcalls strewed the same
Bone-riddled ground. And up the paths
The endless altered people came,

Washing at their identity.
Now, helpless in the hollow of
An unarmorial age, a trough
Of smoke in slow suspended skeins
Above their scrap of history,
Only an attitude remains:

Time has transfigured them into
Untruth. The stone fidelity
They hardly meant has come to be
Their final blazon, and to prove
Our almost-instinct almost true:
What will survive of us is love.


~ Philip Larkin (1922 - 1985) ~
{previously}

Saturday, June 9, 2018

Fingernail Moon

This Morning ~ 5:30 am

Philip Larkin describes the full moon so perfectly: "Lozenge of love! Medallion of art!" However, I think his observations apply just as well to the waning fingernail crescent that I saw early this morning when I was awakened by the naughty cats:
High and preposterous and separate—
Lozenge of love! Medallion of art!
O wolves of memory! Immensements! No,

One shivers slightly, looking up there.
The hardness and the brightness and the plain
Far-reaching singleness of that wide stare

Is a reminder of the strength and pain
Of being young; that it can’t come again,
But is for others undiminished somewhere.


from the poem "Sad Steps"

Fuqua & Pine ~ Partners in Crime

Looking up at the Sky

Friday, March 14, 2014

Dream House

814: Dream House

Certainly in my life, there are a couple of old houses that I would like to re-visit, to be greeted with open arms by the current resident and welcomed inside to relive my past. Houses that come back to me in dreams. Looking for poems that capture those mixed feelinsg of inaccessibility and familiarity, I came across this website of the best old house poems ever:

Love After Love
The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other's welcome,

and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you

all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,

the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.


by Derek Walcott, b. 1930
Saint Lucian poet and playwright; professor at the University of Essex
1992 Nobel Prize Recipient

To My Old Addresses
. . . O
My old addresses! O my addresses! Are you addresses still?
Or has the hand of Time roughed over you
And buffered and stuffed you with peels of lemons, limes, and shells
From old institutes? If I address you
It is mostly to know if you are well.
I am all right but I think I will never find
Sustenance as I found in you, oh old addresses
Numbers that sink into my soul
Forty-eight, nineteen, twenty-three, O worlds in which I was alive
!

by Kenneth Koch, 1925 - 2002 [pronounced "coke"]
American poet, playwright, professor
(see previously posted poem by Koch & another by Larkin)

These poems and more can be found on my
NEW FORTNIGHTLY BLOG POST
~ House Sisters ~

The Fortnightly Kitti Carriker:
A Fortnightly [every 14th & 28th] Literary Blog of
Connection & Coincidence; Custom & Ceremony


P.S.

You'll notice that this week, I posted early -- on March 12th --
in celebration of my friend Vicky's birthday!
Happy Birthday to my House Sister!

Saturday, February 6, 2010

That Vase

Home is so sad. It stays as it was left,
Shaped to the comfort of the last to go
As if to win them back. Instead, bereft
Of anyone to please, it withers so,
Having no heart to put aside the theft
And turn again to what it started as,
A joyous shot at how things ought to be,
Long fallen wide. You can see how it was:
Look at the pictures and the cutlery.
The music in the piano stool. That vase.


by Philip Larkin
British Poet (1922 - 1985)

FOR MORE POETRY ABOUT THE COMFORT OF HOME,
SEE MY FORTNIGHTLY BLOG POST:
JANUARY 28th, 2010: SAYING THE OLD TOWN'S NAME

Above and below:
my simple copy in acrylics of the cover art
on one of my favorite mystery novels


Just Too Sad For Words