Showing posts with label oldness in art. Show all posts
Showing posts with label oldness in art. Show all posts

Tuesday, July 8, 2014

gruff

Gruff is a part of Mary Oliver's tone in her recent poem, "Blueberries."

Blueberries

I’m living in a warm place now, where
you can purchase fresh blueberries all
year long. Labor free. From various
countries in South America. They’re
as sweet as any, and compared with the
berries I used to pick in the fields
outside Provincetown, they’re
enormous. But berries are berries. They
don’t speak any language I can’t
understand. Neither do I find ticks or
small spiders crawling among them. So,
generally speaking, I’m very satisfied.


There are limits, however. What they
don’t have is the field. The field they
belonged to and through the years I
began to feel I belonged to. Well,
there’s life, and then there’s later.
Maybe it’s myself that I miss. The
field, and the sparrow singing at the
edge of the woods. And the doe that one
morning came upon me unaware, all
tense and gorgeous. She stamped her hoof
as you would to any intruder. Then gave
me a long look, as if to say, Okay, you
stay in your patch, I’ll stay in mine.
Which is what we did. Try packing that
up, South America.

- Mary Oliver

(this poem appear in the recent issue of Orion.)
I just returned from visiting my getting-old mother in Florida, and last month M and I were in Cape Cod.  Florida is much different than Cape Cod.  Mary Oliver probably did not want to move south, away from Cape Cod.  But getting old trumps what we want, often.  We all wish her well in having to be away from where she lived for so long as a younger woman.

Friday, February 3, 2012

Evening coming



Leonard Cohen just released a new album of songs, Old Ideas.  Joan Didion has a new book, released a few months ago:  Blue Nights.  The album and the book are about mortality, about life aware of death.  Cohen and Didion are, after all, now old.

Their voices are quite different.  Leonard Cohen sounds like gravel.  Almost disintegrating, his very low voice has just enough enunciation to form words and some tune.  Joan Didion's prose is remarkably clear, precise, and detached, like ice when ice is smooth, translucent, and illuminating all contained in it:  but not here.  Her voice has cracked.  Uncomfortable repetitions and occasional confused oldness is in the writing (and still, the book is masterful).

Art with oldness has distinction.  I keep hearing the voices of Leonard Cohen and Joan Didion when they are not in the room.  Here is the refrain of the first song on Old Ideas.  The song is entitled "Going Home."


Going home
Without my sorrow
Going home
Sometime tomorrow
Going home
To where it is better
than before
Going home
Without my burden
Going home
Behind the curtain
Going home
Without the costume
that I wore