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The Politics of Epiphany

It occurs to me that all poets at some point in their lives experience something of the profound, and the nature of this experience colors and informs their writing from that point forward. Robert Graves might have said it is the presence of the White Goddess that is that initiating profundity, that point at which the salmon in the stream bed of inspiration is first discovered, that instant when Taliesyn’s finger is burnt gold by Cerridwen’s foul potion of hyper-knowledge. James Joyce echoes this theme, in a way, through his constant obsession with epiphany. There is always a point in his writing at which key characters, in a moment of absolute clarity, realize that in order to be alive they must embrace a certain level of awareness to which their ignorant compatriots are blissfully unaware. That blinding moment of illumination is found in every poet’s work at some juncture. What triggers it, of course, is different for each writer, but it always involves a painful awareness of the difference between mere commonplace angst and profound turmoil.

Interestingly enough, this grand profundity more often than not is expressed negatively. That is, it is communicated as a loss — of innocence, of joy; or as the sense of something ponderous, weighty and sad — a sense of isolation, of powerlessness, of triviality, of uselessness, of pointlessness. It is the rare writer that colors their illumination as a positive experience, as if ignorance of the reality of things is something worth losing, if exchanged for an awareness of one’s true place in the universe. Perhaps that is because in order to communicate to those who have not had their own epiphany, one must appear to grieve as those without profound experience imagine grief to be, if only to establish some basis for communication. Never mind that the language of profundity, like the language of the acid trip, is meaningless outside its context, even to one who has made the journey and is now safe back at home.

And too, people who see the profound where others see simply the ordinary are often ostracized, ridiculed, and even institutionalized in order to maintain the fabric of society. We accept grief, loss, isolation, loneliness, powerlessness, and pointlessness as part of every day life — so long as one does not wallow in it, nor force others to witness its impact on our neatly scrubbed, public faces. I suppose it’s like agriculture, to some extent; we are pleased and proud as a culture that less than 5% of the population has to work directly with dirt in order to feed the rest of us. In a similar way, we are pleased and proud of that small number among us who serve as artists, poets, dancers, sculptors, musicians — pleased that they are indeed only a small portion, whose dalliance in profundities siphons but a meager amount of gross national product from more practical, useful and ultimately controllable employment.

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More on Sanity and Madness

Who could imagine their ancestors
all stark raving mad,
or at least each generation
marking out as bad
an apple flung far from the tree,
opposed to status quo
and causing much embarrassment,
endless grief and woe?
Yet isn’t it a kind of madness
to mime, deaf and mute,
precisely as your forebears did,
and not press your own suit?
And times when the world was mad —
if your lot stayed the same,
would you not think it odd or find
some malady to blame?
To think that no one in my family
thought this world not right,
or questioned why it should be so,
gives me an awful fright.
For what is more insanity:
to flee a maddened world,
or find a place inside the whirlwind
and stay safely curled?
A paradox that troubles me
whenever I feel sane
is why I find a normalcy
amidst such strife and pain,
and why we fear insanity,
which makes us more aware
of that which keeps the world divided:
in here, and out there.

23 JAN 2005

One could argue, I suppose, that there is a hint of madness to be found in EVERY family tree. And for those that exhibit no overt sign of it, I suggest that itself is the madness.

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