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skip to content rethink. ora sono ubriaco d'universo. (ungaretti) menu home about me blogroll index key posts media research search for: poetry denise levertov, “keeping track” posted on july 6, 2018 by ashok / 0 comment on the one hand, i don’t want to write on this poem. i feel miserable. my efforts have been scattered; scattered efforts produce lackluster results; i have no one to blame but myself. on the other hand, what does it mean to “keep track” when trying to master a craft? if i fail, i can say what came before was doomed to failure. that answer is a bit too easy—can it possibly account for how success is achieved? is “keeping track” simply matching “success” to whatever preceded it, and “failure” likewise? that sounds outrageously stupid, but then again, watch how we talk about leadership and good habits. keeping track (h/t @kelliagodon ) denise levertov between chores— hulling strawberries, answering letters— or between poems, returning to the mirror to see if i’m there. levertov divides life into three parts: chores, poems, the mirror. her lines about chores do keep track of time, but in the most whimsical way. between chores— / hulling strawberries, / answering letters —she does not bother to list any true chores, skipping instead to what we assume pleasures. those pleasures seem to combine sensuality and grace, as good letters don’t only speak to one emotionally charged moment, but are crafted so they can be reread. the chores, the necessitated, are perhaps broken up by a higher sense of pleasure. what, then, of poems? she holds poems directly analogous to chores, and i confess this makes me feel better about my own failures. i keep thinking it is a luxury to be able to read and write and study, and i know that’s true. but this logic tends to create a powerful sense of guilt. e.g. if my work is a luxury, then i should indulge it continually; if my work is a luxury, that means failure is not acceptable. i feel like levertov has gone through something similar. between poems, / returning to the mirror / to see if i’m there —what’s lost between poems is a sense of one’s very self. this initially sounds, to my guilty ears, overblown. some people have to work 60-70 hours of manual labor a week, some are enduring prison. shouldn’t we save the notion that the self could be blotted out for them? it is possible that there are gross injustices which hurt people dearly and things that are not quite gross injustices which also cause pain. the price of craft is, to be blunt, forgetting who you are. a writer often has to write to figure out what she’s feeling. this isn’t just a therapeutic exercise, as some part of authenticity has been alienated when one strives to engage an audience or get the words exactly right. good habits come at a cost: they’re still habits, and they may have to be questioned or undone in certain circumstances. as a writer’s material is her own life, her own process can be in tension with life. on my reading, the notion of a mirror holding a reflection becomes crucial. it really helps to have an object do that work, as opposed to a set of techniques or expectations. however, as you’ve probably guessed, the object in question—the object holding yourself—would be poetry itself. it’s almost as if one is completely beholden to the finished product. levertov’s use of space in this poem emphasizes “between,” which she uses twice to refer to returning to the mirror. dickinson / poetry emily dickinson, “success is counted sweetest” (franklin 112) posted on june 28, 2018 by ashok / 1 comment let’s try, you and i, to get success. right now. we’re going to define it, and once we define it, we’ll realize we have a bit more of it than we thought we did. let’s go get what’s already there. for myself, i want to be more organized and disciplined. this means writing, studying, and reading regularly, not letting messes pile up, having proper meal times and bed times. it means publishing on a regular basis. i want to model the behavior i want to see in others, so reaching out and being kind are priorities. and that, in turn, means speaking out—i don’t want to hear excuses for the unacceptable, i don’t want people who have no concern whatsoever for others dominate our discourse. i’m sure you’ve got a similar list, and similar sentiments regarding your own progress with each item. you can ask me what i’ve actually been doing, and you’ll hear something like “i just started.” i’ve found it useful to locate my efforts in the “pre-planning” stage of action. i can employ professional-sounding terminology for professional-sounding excuses. i do hope you’re making more progress than i am; maybe angry jealousy will get me moving. strangely enough, this debased vantage of mine might count for something. success is counted sweetest / by those who ne’er succeed —the only way to appreciate success is to not have it—in fact, to never have it. does that include not trying to succeed? if i’m trapped in my own inaction, does that mean i have a picture of success? it would seem not, as the last two stanzas of this use the imagery of battle, of struggle. it looks like at some point, i have to try and fail in order to appreciate success. but let’s take as close a look at this poem as we can: success is counted sweetest (franklin 112) emily dickinson success is counted sweetest by those who ne'er succeed. to comprehend a nectar requires sorest need. not one of all the purple host who took the flag today can tell the definition so clear of victory as he defeated – dying – on whose forbidden ear the distant strains of triumph burst agonized and clear! to comprehend a nectar / requires sorest need —we were told success is counted sweetest by those who never succeed, but now this proposition becomes more concrete and more specific. not succeeding involves “sorest need:” you and i desperately need whatever “success” offers. a nectar is natural and may be bright, not just sweet. you could look at it as a gift of the gods, or you could look at it as an everyday occurrence. success, then, is a matter of necessity and perspective. this is dizzying, and we’ve only read one stanza. i usually appeal to necessity to cut down on opining. if i know i need to eat, that ends the debate of where i want to go to eat, right? not quite—i’m still picky, partly because i want a meal, of all things, to be “successful.” i don’t just want satisfaction, i want in some small way to show it off. now if i can’t eat—if i’m in “sorest need”—the utter indignity is soul-crushing. i can’t even feed myself: what am i worth? i think dickinson comes close here to articulating the literal end of american life as we today experience it: we’re afraid to leave the house. all of us, not just the ones saying we’re introverted or speaking openly about anxiety. it’s incredible how we’ve cultivated public spaces that in essence are only extensions of our private lives. there is nothing properly public, and lessons of leadership and proper social engagement are hard to find. so i believe this poem can speak to complete inaction, to paralysis before anything has even happened. it’s a completely arbitrary and imaginary definition of success that is both so necessary and so devastating. still. not one of all the purple host / who took the flag today / can tell the definition / so clear of victory —in the swirling mass of battle, not one solider for either side really knows what they’re fighting for. dickinson shifts to martial imagery, implying we’re all soldiers, we’re all trying. this does not seem to square with my thought that her poem can speak to complete inaction. however, a not insignificant part of my dissertation was dwelling on xenophon’s socrates loudly proclaiming to an elected general that all men go on campaign because they desire happiness. if something about telling people to kill or be killed in order to achieve happiness strikes you as strange, it would be wise to contemplate the speaker. did soc

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http://www.ashokkarra.com/2018/07/denise-levertov-keeping-track/#respond
http://www.ashokkarra.com/posts-by-subject/
http://www.ashokkarra.com/2018/06/emily-dickinson-away-from-home-are-some-and-i-821-2/#respond
http://www.ashokkarra.com/page/377/
http://www.ashokkarra.com/page/2/
http://www.ashokkarra.com/category/poetry/
http://www.ashokkarra.com/2018/05/jane-hirshfield-pyracantha-and-plum/
http://www.ashokkarra.com/research/
http://www.ashokkarra.com/2018/06/emily-dickinson-exultation-is-the-going-76/#respond
http://www.ashokkarra.com/media/
http://www.ashokkarra.com/2018/06/emily-dickinson-exultation-is-the-going-76/
http://www.ashokkarra.com/2018/06/emily-dickinson-away-from-home-are-some-and-i-821-2/
http://www.ashokkarra.com/contact-me/
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Domain Name: ASHOKKARRA.COM
Registry Domain ID: 1511674705_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.ionos.com
Registrar URL: http://https://registrar.ionos.info/
Updated Date: 2018-08-03T07:17:17Z
Creation Date: 2008-08-02T06:01:56Z
Registry Expiry Date: 2019-08-02T06:01:56Z
Registrar: 1&1 Internet SE
Registrar IANA ID: 83
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Registrar Abuse Contact Phone: +1.6105601459
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Name Server: NS1125.UI-DNS.BIZ
Name Server: NS1125.UI-DNS.COM
Name Server: NS1125.UI-DNS.DE
Name Server: NS1125.UI-DNS.ORG
DNSSEC: unsigned
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  NAME ashokkarra.com

  CHANGED 2018-08-03

  CREATED 2008-08-02

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  NS1125.UI-DNS.BIZ 217.160.81.125

  NS1125.UI-DNS.COM 217.160.82.125

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  NS1125.UI-DNS.ORG 217.160.83.125

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