Posts Tagged ‘“Gatherings: Selected and Uncollected Writings”’
DAVID KHERDIAN’S “SEEDS OF LIGHT”
John Robert Colombo discusses a book of poetry inspired by the Work experience
If there is any other collection of poems inspired by the Fourth Way, I am unaware of its existence. It is true that some poets, like the late Kathleen Raine, have a distinct feelings for these experiences and values, but to my knowledge Raine did not explicitly write about such experiences in any of her volumes of verse. My generalization is true for the English language, but it is not true for poetry written in the French language.
The reader with a sweet-tooth for the images and the movements characteristic of intense and intuitive poetic language, who has a command of French or who is drawn to patiently prepared translations, will have his or her needs well met by the free-verse poetry and wildly imaginative prose poetry of René Daumal. He is the literary mascot of the Work in France and a creative artist endowed with persistent and penetrating powers of invention, well deserving of great respect accorded him. In past columns for this web-blog, I have reviewed current English translations of Daumal’s books. Translations of his writings add unexpected grace-notes to the leitmotif of “quest” expressed in the French and English languages.
The writings of Pierre Bonnasse, a student of the Work in Paris who holds a doctorate in Literature from the Sorbonne, has published a multitude of books of imaginative power and value, including a collection of poems titled “Dans la nuit d’Aghtamar” which exists in an English translation that no publishing house has yet offered to issue. I will say no more about Bonnasse and his work here because I described them at some length on this web-blog in October 3, 2008, under the questioning title “Fourth Way Words?” Instead I want to turn my attention to David Kherdian and his poetry.
I began this review article with these words: “If there is any other collection of poems inspired by the Fourth Way …. ” The “other collection” was composed in English by Kherdian. It is to this collection – “Seeds of Light: Poems from a Gurdjieff Community” (McMinnville, Oregon: Stopinder Books, 2002) – that I am now turning my attention. I am doing so because it was recently drawn to my attention that the book, now a decade old, has received hardly any attention – if any attention at all – from reviewers with any knowledge or interest in work-related literature. Readers appreciate the contents of the book, but reviewers know nothing of its appearance. This is a shame. No book is truly “old.” Every book is really “new,” at least until it has been read.
Question: “Who is David Kherdian?” I asked this question four years ago in this very web-blog, the occasion being the review article titled “Possible Gurdjieff-Stalin Connection with Reference to David Kherdian” which appeared here on June 3, 2008. At the time I was trying to trace the suggestion that not only were Gurdjieff and Stalin personally known to each other – highschool students in Georgia, so to speak – but Gurdjieff wrote about their association in a chapter that was mysteriously excluded from the published text of “Meetings with Remarkable Men.” I have never determined the truth (or consequences) of this statement, so I take it to be a rumour, one that is likely to lurk for decades to come, and nothing more. Here is what I wrote about Kherdian four years ago.
Answer: Kherdian is a thoughtful and productive person, an Armenian-American poet, novelist, and essayist with much experience in the Work. One of Kherdian’s books “Seeds of Light” was published by Stopinder Books and is subtitled “Poems from a Gurdjieff Community.” Another of his books is called “On a Spaceship with Beelzebub” and it is subtitled “By a Grandson of Gurdjieff.” It was praised by Colin Wilson as “one of the best accounts I’ve read of actually being a member of a Gurdjieff Group.”
I first encountered Kherdian when I subscribed to the journal that he edited decades ago from a farm in Wisconsin. “Stopinder: A Gurdjieff Journal for Our Time” was a handsomely designed publication illustrated by his talented wife Nonny Hogrogian. Each issue offered subscribers a low-key yet concentrated approach to human problems in rural and rustic settings. Over the decades Kherdian has published about two dozen anthologies, volumes of verse, collections of memoirs, and works of fiction.
Kherdian’s article “The Vanishing Master” is almost twenty years old but it is still fresh. In practical terms it offered the author an opportunity to share his views of Mr. G., whom he describes as a man formed by his Armenian background. Armenians – as well as Bulgarians, I have noted – describe themselves as being situated at the “cross-roads of the world,” the cock-pit of history and civilization. For this reason, Kheridan finds something unique about Mr. G and his message.
“He was the very first of the Eastern teachers or Masters to formulate an ancient teaching for the West – this planet’s growing point. All the others brought their religion or ideology entire – garment, beads, and all – changing the fit and form of Western spirituality into its Eastern strictures. Gurdjieff, of mixed Greek-Armenian parentage, grew up in Armenia, at the crossroads of East and West, the Armenians being the only people who belonged to neither yet were part of both. Whether he chose himself or was chosen, we do not know. We only know that he left his school, assumed a mission and devised a plan for its execution. He called it Esoteric Christianity, perhaps because it straddled East and West, as he did, being raised in the Eastern Orthodox Church, and then pushing East for his training before returning, transformed, to the West.”
Such is his view of Mr. G. This is not the place to present Kherdian’s interesting argument that there are now two generations of Gurdjieffians and that their aims are anything but congruent …. Instead, it is time that someone surveyed the writings of David Kherdian from the perspective of the Work. A start might be made by asking him for permission to reprint “The Vanishing Master” on this news-blog.
To repeat, I wrote the above paragraphs on June 3, 2008. Now four years have passed and I will try to catch up with Kherdian. He has his own website < http://www.davidkherdian.com > which is short on biographical details but nonetheless interesting. Born in Racine, Wisconsin, of Armenian background, he is “the author and editor of over sixty books, that include poetry, novels, memoirs, biographies, bibliographies, children’s books, as well as critical studies, translations, and retellings” (according to his vita sheet). He has edited a number of anthologies of poetries selected on the bases of “ethnic expression” and “sense of place” – i.e., the writer’s background, linguistic and social, as well as the writer’s place of residence. An hour-long documentary on his poetry, produced by the New York independent filmmaker Jim Belleau, was released in 1997. His latest book is an anthology of his own work in many genres, “Gatherings: Selected and Uncollected Writings” (Tavnon Books, 2011). In the fall of 2012 the University of California Press will publish his “New and Selected Poems.”
Here is an item from the author’s website expressed in the third person: “He is currently in the market for an agent to handle his retelling of David of Sassoun, the tenth-century Armenian epic, well known in the East but virtually unknown in the West.” (Publishers, take note!) So he has been dizzily busy as a man-of-letters. Enough of background. Here is a brief look at his Work-inspired poems.
To discuss Kherdian’s poetry, I want to place his poems in an unusual and perhaps idiosyncratic context, one that permits me to discuss the possibilities in our day of the straight-forward diction of his work – the common style: plain, direct, unornamented, unrhymed, unrhythmed, the one adapted by most poets and by most contemporary bards. The style is difficult to distinguish from prose except that the lines do not run to the right-hand edge of the page. There is no name for this style, though the words “free verse” probably best describe it, except that what is being heard or read is not “verse” (rhythm and rhyme) but “poetry” (highly associative language) – “free poetry” perhaps; yet those two words do not sound quite right. Perhaps the word “prayer” – or “meditation” or “rumination” or even “consideration” – sound more appropriate. In short, it is today’s vernacular.
I am tempted to regard Kherdian’s poems as prayers (which Gurdjieff calls “recapitulations”) because they are admissions of current limitations and appeals to an outside agency or force and also to the force or agency within one’s own self for enlightenment, salvation, redemption, whatever. The poems are highly personal, characteristically subjective. How essential they are is what this review attempts to probe. There are two contemporary works that I feel do convey some of the possibilities of poetry as prayer, particularly when performed by a singer with electronic backing. To this end I will discuss two compositions. Both of them may be heard with a few keystrokes on YouTube.
Whoever has viewed the 2010 film “The Tempest” directed by Julie Taymor will be bowled over by the visuals and soundtrack of its closing sequence, a sequence known as “Prospera’s Coda.” The Prospero of Shakespeare’s play is reinterpreted by the actress Helen Mirren in terms of a woman magus, Prospera. The final speech of the play is not delivered by the actress; instead, it is sung, or intoned, off-screen, by the English vocalist and lyricist Beth Gibbons. The effect is quite arresting, quite unsettling. The lines that Shakespeare wrote are pure poetry – rhythmical and rhymed verse:
But release me from my bands
With the help of your good hands:
Gentle breath of yours my sails
Must fill, or else my project fails,
Which was to please. Now I want
Spirits to enforce, art to enchant,
And my ending is despair,
Unless I be relieved by prayer,
Which pierces so that it assaults
Mercy itself and frees all faults.
As you from crimes would pardon’d be,
Let your indulgence set me free.
Intoned by Gibbons, they are heard not as awesome affirmation or heroic renunciation or inevitable reconciliation, but in the contemporary context as the cry of a person without craft, the outcry of a person in pain without restraint. The presentation thus goes against type. It is overpowering, in some way beyond the language of poetry itself.
The same curious amalgam of art and artlessness is characteristic of the stunning finale of the final episode seen in 2005 of the HBO television series “Six Feet Under.” Sia, the Australian singer and songwriter, intones words of pleading and meaning, heart-brokenly, directionlessly. This time the words lack the Elizabethan air; instead what they have is the simplicity of the simpleton who nevertheless suffers needlessly:
Help, I have done it again
I have been here many times before
Hurt myself again today
And, the worst part is
There’s no-one else to blame.
The words are Sia’s and the presentation is true to type. It is called “Breathe Me” and it could be likened to the confession of a person who is drowning in the despair of present-day life. It is free verse and it is very effective. But, like “Prospera’s Credo,” it is about as far as possible from the common style. Redemption is not close at hand.
The visuals contrast too. The images that appear on the screen as Beth Gibbons intones Shakespeare’s words are dreamy and nightmarish. The visuals that appear as Sia seems to trip over her own words, so downtempo, so obsessive and abulic, are the images of an automobile journey across the American continent from Los Angeles to New York City. The landscape of Prospero-Prospera’s island (filmed in Hawaii) and that of the car’s journey across the Mojave desert might well be that of the moon. In both instances, whether presented against type or true to type, the visuals and electronic and acoustic effects make the work very contemporary in a direct and unmediated way. The effectiveness of the poetry or verse lies in its presentation, here aided and abetted by the media of cinema and television.
There are no trumpets or drums, intoning or appealing women, whether maguses or fallen women, in Kherdian’s poetry. Instead, there is some hope and the anticipation of self-knowledge if not power over the negative aspects of the self in David Kherdian’s “Seeds of Light: Poems from a Gurdjieff Community.” This is a trade paperback of attractive design with woodcuts by the poet’s wife, Nonny Hogrogian. It bears the imprint of Stopinder Books, McMinnville, Oregon. It consists of 202+iv pages and the year of publication is given as 2002. The effort is “Dedicated to the Memory and Living Presence of G.I. Gurdjieff.”
By my count the collection consists of 123 poems and they are arranged in chronological order in five divisions identified as “books.” I sense that book by book the poems advance from being descriptive and anecdotal to expressive and experiential. The first poems are somewhat sketchy, the last poems rather full-bodied. Yet the book is a whole and may be read from cover to cover like a log of rural experiences. The book is not like a diary – there are no personal revelations, there are no descriptive passages – so the poems have to be read for what they are, page-long, free-verse poetry. Do not look for characterization or profiles of people; they are not even noticeable by their absence.
The intelligent and insightful introduction has been contributed by Allen Roth whose name may ring a bell because he is the author of Sherborne: An Experiment in Transformation (1998). He notes that the poet and his wife, an illustrator, lived from about 1978 for nine years at Two Rivers Farm, near Aurora, Oregon, a community founded by Annie Lou Staveley, a pupil through Jane Heap of G.I. Gurdjieff. It was presumably the sole farm in the area that had and still has its own printing press. How many people have lived on these acres, how many people were weekend visitors, how many acres there are … none of this information is shared. Instead, the reader is invited to share Kherdian’s perceptions, impressions, and thoughts.
Of these poems, Roth writes, “We are given tastes, not recipes.” So there are no descriptions of exercises, meditations, or movements on these pages. It is as if the rationale for the rural retreat has been displaced or subsumed in the tasks of everyday farm life. “He is the single, full-fledged poet I know who sings of the work, although much has been written by some good writers in other forms.” Yet, as Roth notes, “These poems are noticings, of oneself in the moment of noticing: the gateway to all spiritual aspiration.” I like the plural noun “noticings.”
It is probably safe to say a reader who knows nothing about communal living and work centres will benefit from reading Kherdian’s poetry, though the reader might be puzzled by poems which from time to time conclude with spiritual affirmations that appear so to speak out of the blue: “There is a beauty in all this / beyond the telling.”
The reader can sense both the man and the poet at work in the earlier poems; in the later poem the reader can sense that they are the same being. There is an instance of this in two poems titled “i ride the red tractor.” In the first poem the “i” is identified as “a stranger to this green earth / these turbulent, thundering skies.” In the second poem the “i” is “this human form” which would “come to them” (“bird and animal / red tractor or green”) “in the halo of my love.” There is a transformation recorded here in parallel poems with the same title. It is casually presented, characteristic of Kherdian’s subtle sometimes impressionistic writing generally.
The poems are anything but innovative or subversive; they are anything but traditional or conservative. They are individual in the sense that the idiom adopted by the poet is that of modern free verse. The poet is aware of Ezra Pound who sought to introduce Modernism, which led to Post-Modernism, for Kherdian twice quotes the injunction “make it new,” a command identified with Pound. Kherdian does not make it new, but he makes it his own – here is a man here, a man in the guise of a farmer-poet – who does this and does that. Share his experiences and their meanings. In terms of the division of man in P.D. Ouspensky’s schema, it is possible to place Kherdian’s magnetic centre in his moving / instinctive centre – that is his “major” centre, his minor being the emotional.
I will not pause over the poems in whole or part that describe pigs, ducks, horses, chickens, starlings, flies, and other farm animals and fowl; here Kherdian has to contend with the reader’s remembered richness of D.H. Lawrence’s wildlife poems. Ditto for weeds, flowers, seeds, etc. Kherdian is inclined to see the wildlife that catches his eye as instances of all life:
Ah well, I tell myself, some things
just naturally resist a reasoning
mind, that’s all. And have you not
noticed how various and multiple
and mysterious everything is –
including chickens (not to mention
humans), etcetera, etcetera.
That is the ending of “the wild ones.” It is quite effective, and it would work on the podium as a spoken poem, but it tells us “a little about a little,” rather than “a lot about a lot.” Kherdian is not the poet of the big statement, but of the little insight, which is all the richer for its uniqueness. The poem “to the man or woman” is about a meditation cushion, accidentally left behind, which he then uses while shelling corn. He wonders if it will retain the impression of his body. He then ponders the act:
We want to touch everything
in this manner, with all
the parts of our bodies, consciously,
with all our feelings and thoughts,
for it is in this way
that we are trying to
awaken to The Farm
Only one of the poems is formal in the literary sense of that word. It is “mount st. helens” and it describes the feelings on the land when “the ashes fell.” It is formal because its stanzas are constructed like those of the classic French form known as the villanelle, except that there is no repetition of lines and no use of rhyme. I wish it were a villanelle. As it is, the memorability of the poem rests on the process of its thought and feeling, unbuttressed by stylishly or skillfully written lines. It ends:
We had been shocked into wakefulness, and the
certainly of that made us question again
the uncertainty of life and its meaning.
The structure of at least one other poem recalls the structure of a classic form, in this instance “poem” comes close to the three-line haiku, though its length is eleven lines. Five lines describe the sight of one of the farmers on a bicycle. Three lines are devoted to how the scene that is so far distant is so silent. Five lines move into another dimension, the last two being these:
I turn and do not see the invisible
imprint I have left on the ground.
There is a lot in these poems about close to indelible impressions. Reading these poems I occasionally thought how D.H. Lawrence would have done it better – or at least deeper – but then he was weighted down and occasionally buoyed up with deep passions and society’s restrictions against venting them. Yet every so often I also thought of Rainer Maria Rilke. The German poet would have approved of a number of Kherdian’s poem, especially the one titled “1,2,3,4, ducks in a row.” Lawrence would know what he thought of the inner life of the duck, but Rilke would have known better, especially in his period at Castle Duino in Trieste. And Kherdian too knows better. Without paraphrasing the twenty-one line poem, let me quote the last stanza about the sight of these strange creatures of creation:
As if it were my business. As if I, who understand nothing,
including myself, should be expected to understand
them, and know what they mean, or what
they SHOULD mean. Whose life am I living, anyhow?
The mundane task of keeping the birds from eating the fruit is described in the poem “they’re after my strawberries again.” The task is being poorly performed by the straw-hatted scarecrow. Is the poet better able to perform it? Here is how it ends:
What am I waiting for?
Heaven’s intervention? Childhood’s return?
A permanent summer sun and no villains?
Perhaps I’ll just sit back and wait
for a better poem, a better scarecrow,
and all the luck in the world,
plus a little bit more.
Everyone can use “the luck” and “a little bit more.” The expectations for the scarecrow were high, for the poet not so high, for the poem, it was the luck of the draw and the presence of perseverance and talent.
So far the poems that have been discussed and quoted come from the first half of the book. If I gave equal representation to the poems of the book’s second half, this appreciation would have to be much longer than it already is. Instead let me suggest only the following – that the later poems differ from the earlier in that the “noticings” of peculiarities and anomalies and unexpected emotions noted in the lines take on greater depths of meaning and significance in the later poems. What were sketches are now sculptures; what were two dimensional are now three dimensional.
This process of deepening and heightening is a consolidation of the poet and the process, of the man and the meaning, and it may be sensed by the reader in an occasional poem like “the cat” which describes movements of Tessie the tom cat. The description is neat and it “inscapes” the spirit of the animal, to use the verbal form of Gerard Manly Hopkins’ noun. Here is the three-line ending to the eighteen-line poem:
The hollow inbreath,
sensed but not seen,
between be and become.
The poet delves deeper or scales higher in “the death / life thing”:
when what we call life
and what we call death
join in their wholeness.
This Taoism or Buddhism or what-ism can go too far, as in the composition titled “the poet addresses his double” which looks at answers, organization, death, balance, and control, only to conclude:
Enter your life, only that.
Thank God, and be yourself.
Rather than leave it on a low note, I want to take this review to a high note and listen to what Kherdian has to say in what is obviously one of his major poems. The poem is “celebrating gurdjieff’s one hundredth,” and it is subtitled “January 13, Aurora, Oregon.” It is only seventeen lines long, seventy-two words of text (plus the nine-word title and subtitle, to make it 81 words in all). It is not a miniature literary work but in a way it is gem-like.
The poet imagines that the headlights of cars penetrating the fog are “candles in procession / walkers in Asian mountains / chanting as they come to prayers.” The mythic is contrasted with the ironic: “Here their descendants arrive / in shields of tin and glass / over mended gravel roads.” In a melange of imagery, the poet imagines “brothers, our fathers” – people in the present, people of the past – “our drum the silent wheel” – the prayer wheel apparently, but also the automobile wheel – “our prayer beads” too – “that hums under the hood.” There is the notion of poetry as prayer here too. The poem ends (if it truly ends) with three words separated by two spaces:
We Affirming Come
In its quiet way and not quite clear way, it is quintessential David Kherdian.
I could continue to discuss other poems in “Seeds of Light” and in the poet’s subsequent collection “Letters to My Father” in light of this author’s earlier prose work titled “On a Spaceship with Beelzebub By a Grandson of Gurdjieff” which Colin Wilson praised as “One of the best accounts I’ve read of actually being a member of a Gurdjieff group.” That book alone deserves to be described, but that is a subject for another review-article, perhaps one that I will write when, later this year, the University of California Press issues David Kherdian’s “New and Selected Poems.”
John Robert Colombo
John Robert Colombo, based in Toronto, is a Member of the Order of Canada and holds an honorary doctorate from York University, Toronto. His latest books are “A Quaint and Curious Volume of Forgotten Lore” (a volume of aphorisms) and “Less of Light” (the poems he wrote during the year 2011 plus a dream diary). Check his website for more details. < http://www.colombo.ca >