evening song

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Evening Song
Jean Toomer

Full moon rising on the waters of my heart, 
Lakes and moon and fires, 
Cloine tires,
Holding her lips apart. 

Promises of slumber leaving shore to charm the moon, 
Miracle made vesper-keeps, 
Cloine sleeps, 
And I’ll be sleeping soon. 

Cloine, curled like the sleepy waters where the 
        moon-waves start, 
Radiant, resplendently she gleams, 
Cloine dreams, 
Lips pressed against my heart. 

voices rise

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Georgia Dusk
Jean Toomer
The sky, lazily disdaining to pursue
The setting sun, too indolent to hold
A lengthened tournament for flashing gold,
Passively darkens for night’s barbecue,

A feast of moon and men and barking hounds,
An orgy for some genius of the South
With blood-hot eyes and cane-lipped scented mouth,
Surprised in making folk-songs from soul sounds.

The sawmill blows its whistle, buzz-saws stop,
And silence breaks the bud of knoll and hill,
Soft settling pollen where plowed lands fulfill
Their early promise of a bumper crop.

Smoke from the pyramidal sawdust pile
Curls up, blue ghosts of trees, tarrying low
Where only chips and stumps are left to show
The solid proof of former domicile.

Meanwhile, the men, with vestiges of pomp,
Race memories of king and caravan,
High-priests, an ostrich, and a juju-man,
Go singing through the footpaths of the swamp.

Their voices rise . . the pine trees are guitars,
Strumming, pine-needles fall like sheets of rain . .
Their voices rise . . the chorus of the cane
Is caroling a vesper to the stars . .

O singers, resinous and soft your songs
Above the sacred whisper of the pines,
Give virgin lips to cornfield concubines,
Bring dreams of Christ to dusky cane-lipped throngs.

Photo by Tim Foster on Unsplash

Rousing sessions, furious responses

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“Part of what interests me is the impulse to dismiss and how often it slides into the very incoherence or hysteria of which women are routinely accused.” –Men Explain Things to Me, Rebecca Solnit

When not enunciated clearly, “betrayal” and “portrayal” sound very much the same. And in reality, they are.

Applicable in many situations, it seems most apt when thinking about the portrayal women must give so often in the world, consciously or not, in the workplace, in their private lives, even in their friendships. And in giving this portrayal (or portrayals), she performs or reflects a kind of betrayal – of herself, other women and even the truth of what women are or can be. I wrote a bit about this – or about false feminism – or carrying the flag of feminism only when it is convenient or aligns with one’s own individual conception of feminism. But I can think of very little that betrays oneself and womankind – and does the least amount of good for all of humanity – than the idea of portraying a role, fitting into a mold, being or showing some unreality to the world and perpetuating it. At the same time, though, it is so ingrained as the expectation that it’s hard to do otherwise. After all, no one appears ready to take a woman at her word.

“I told you, but what does the proverb say? A woman’s prophecy is always taken lightly until it comes to pass.” –The Dance of the Jakaranda, Peter Kimani

At face value

I think of this often: we don’t take what women say at face value. Even if we believe them, and even if what they tell us bears out, e.g. Bill Cosby’s many accusers, Cosby’s own admissions of what he had done (without accepting any culpability, i.e. “I did it but it wasn’t wrong; it was consensual”), we still don’t apply the logic or truths of what women say, we still don’t hold anyone accountable for what women endure, reinforcing the idea that we might as well just shut up or contentedly portray our role.

“If we could recognize or even name this pattern of discrediting, we could bypass recommencing the credibility conversation every time a woman speaks. One more thing about Cassandra: in the most famous version of the myth, the disbelief with which her prophecies were met was the result of a curse placed on her by Apollo when she refused to have sex with the god. The idea that loss of credibility is tied to asserting rights over your own body was there all along. But with the real-life Cassandras among us, we can lift the curse by making up our own minds about who to believe and why.” –Men Explain Things to Me, Rebecca Solnit

Crazy label: Unspoken message

“As you know, men are apt to idolize or fear that which they cannot understand, especially if it be a woman.” –Cane, Jean Toomer

I read this week about Sylvia Plath, and how she is widely regarded in academia and in general as a gifted but troubled woman. Clearly if you’d commit suicide, you must have been crazy. She was just a jealous woman who had been cheated on, like so many before her, and could not handle it. Unhinged. Hysterical. But is any story or person that simple? It’s so easy to dismiss her this way because this is what evidence we have; this is the narrative that her ex-husband sought to craft in her death. Not to preserve her reputation as a literary voice but to protect his.

The article I read asks: “Why are we so unwilling to take Sylvia Plath at her word?” The “crazy label” assigned to her (which, granted, is not hard to assign when a person kills herself and is therefore left defenseless; any written evidence she left behind was destroyed by the aforementioned ex-husband) automatically makes her an unreliable witness to her own existence, all the more so because she was a woman. The hushed-up, unspoken message is clear: You don’t need to listen to a woman if she’s crazy, and much of the language used to describe women and their behavior (as if it can be so easily classified and compartmentalized) makes all women seem crazy in some way. All women then are unreliable or biased witnesses. When an individual woman’s own situation becomes unbearable and visible to others, it is demanded: “But why didn’t you say anything?” Answer: “I did and no one listened/believed me” or eventually, “Who would have believed me?” When their prescience comes to prove itself, later people ask, “But why didn’t anyone say anything?” Well, we did. It went unheard until it came to pass.

Uncontrollable circumstances, self-blame

As Dorthe Nors writes in So Much for that Winter, “and it is woman’s weakness to believe it’s because she isn’t good enough that things don’t go according to plan (and it is woman’s weakness that things should go according to plan).” Perhaps it is this near-built-in inferiority coupled with the idea that somehow you (as a woman) should be perfect that makes one seem crazy. Even though this is exactly the portrayal women are asked to give every single day.

Meanwhile, as Alice Munro writes on men in Hateship, Courtship, Loveship, Marriage:

“Men were not like this, in my experience. Men looked away from frightful happenings as soon as they could and behaved as if there was no use, once things were over with, in mentioning them or thinking about them ever again. They didn’t want to stir themselves up, or stir other people up.”

(Wo)man with a plan

It’s overly simplified and not universally true (in other words: here are some sweeping generalizations for you), but in very broad strokes, women plan and then feel guilty and inadequate when that plan does not work precisely, dwelling on the consequences (even if they often have also performed risk assessment and made contingency plans even for the simplest of maneuvers). Men do not plan, and walk away without a second thought when the things around them fall apart, feeling no connection at all to the consequences.

Or, men’s and women’s idea of what constitutes a “plan” are fundamentally different: A man makes a plan, points A through Z. He rarely seems to follow the threads of what happens if any of those alphabetical points does not go to plan, which is where many women excel. She is thinking about point A1, and the contingency plans A2, A3 and how those interact and meet with the next possible steps in the plan, points B-Z and their subplans. If she thinks this way, how can she not foresee and foretell pitfalls and disasters? It’s a bit like a Choose Your Own Adventure book but without any real surprises. A bit like a woman’s life at times: chaos and silence, ignoring and being ignored and many rousing sessions and furious responses that lead nowhere.

Telephone the power-house

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Her Lips are Copper Wire
Jean Toomer

Whisper of yellow globes
Gleaming on lamp-posts that sway
Like bootleg licker drinkers in the fog

And let your breath be moist against me
Like bright beads on yellow globes

Telephone the power-house
That the main wires are insulate

(her words play softly up and down
dewy corridors of billboards)

then with your tongue remove the tape
and press your lips to mine
till they are incandescent