Pessimism is for Lightweights

I’m guessing everyone knows this – but I only found it today, and it seemed like something I needed to read:

Think of those that marched this road before
And those that will march here in years to come
The road in shadow and the road in the sun
The road before us and the road all done
History is watching us and what will we become

There is power and strength in optimism
To have faith and to stay true to you
Because if you can look in the mirror
And have belief and promise you
Will share wonder in living things
Beauty, dreams, books and art
Love your neighbour and be kind
And have an open heart

Then you’re already winning at living
You speak up, you show up and stand tall
It’s silence that is complicit
It’s apathy that hurts us all
Pessimism is for lightweights

There is no straight white line
It’s the bumps and curves and obstacles
That make this time yours and mine
Pessimism is for lightweights
Pessimism is for lightweights
This road is never easy and straight
And living is all about living alive and lively
And love will conquer hate

It’s by Salena Godden – buy the book here

Pessimism is for Lightweights

The Awakening

Just came across this lovely poem by Theodore Roethke:

I wake to sleep, and take my waking slow.
I feel my fate in what I cannot fear.
I learn by going where I have to go.

We think by feeling. What is there to know?
I hear my being dance from ear to ear.
I wake to sleep, and take my waking slow.

Of those so close beside me, which are you?
God bless the Ground! I shall walk softly there,
And learn by going where I have to go.

Light takes the Tree; but who can tell us how?
The lowly worm climbs up a winding stair;
I wake to sleep, and take my waking slow.

Great Nature has another thing to do
To you and me; so take the lively air,
And, lovely, learn by going where to go.

This shaking keeps me steady. I should know.
What falls away is always. And is near.

The Awakening

Timesong: searching for Doggerland

Just treated myself to a copy of Julia Blackburn’s latest book, Timesong, Searching for Doggerland.

In the introduction she says,

I wonder if it makes sense to imagine infinity going backwards in time rather than forwards. When you look at it that way round, you no longer have the vague dread of what the future holds, instead there is the intimation of the enormity of everything that has gone before: a solemn procession of life in all its myriad forms moving steadily towards this present moment. You can almost hear the songs they are singing.

There is something else. My husband died a few years ago. He has vanished and yet he remains close, beneath the surface as it were, so perhaps I am also trying to catch a glimpse of him within the great jumble of everything else that has been lost from our sight.’

As an epigraph she quotes the last few lines of a poem by Charles Causley, called Eden Rock. I thought it was worth sharing the whole:

They are waiting for me somewhere beyond Eden Rock:
My father, twenty-five, in the same suit
Of Genuine Irish Tweed, his terrier Jack
Still two years old and trembling at his feet.

My mother, twenty-three, in a sprigged dress
Drawn at the waist, ribbon in her straw hat,
Has spread the stiff white cloth over the grass.
Her hair, the colour of wheat, takes on the light.

She pours tea from a Thermos, the milk straight
From an old H.P. sauce-bottle, a screw
Of paper for a cork; slowly sets out
The same three plates, the tin cups painted blue.

The sky whitens as if lit by three suns.
My mother shades her eyes and looks my way
Over the drifted stream. My father spins
A stone along the water. Leisurely,

They beckon to me from the other bank.
I hear them call, ‘See where the stream-path is!
Crossing is not as hard as you might think.’

I had not thought that it would be like this.
Charles Causley

Timesong: searching for Doggerland

Kiss me again

Extraordinary that the writer – Louise Labé – died in 1566 (From Modern Poetry in Translations Advent calendar ):

Kiss me again, kiss me, kiss me more:
Give me one of your most mouth-watering ones
Give me one of your most smouldering ones
I’ll repay it with four, hotter than any embers.

Weary, you say? Here, let me find a cure:
I’ll give you ten, all different, of rare softness.
Then as we mix up happiness and kisses
We two will please each other at our pleasure.
Now you and I will live our lives twice over
Once inside our self; once in our lover, and
Love, if I dare think this thought aloud,

Living in reserve makes me impatient:
How will I ever satisfy my ache,
Unless I rouse myself to seek, astride.

Who could resist the sonnets of Louise Labé? The tone of voice is immediately compelling, weighing face-to-face directness with fully rounded wit. These are poems which speak to everyone – candidly assertive, warmly human – as if five hundred years were nothing.

Louise Labé’s life – like the lives of so many women of talent – has frequently received more attention than her work. It has been shaped into a scandal (she was a courtesan), a legend (she rode to war), and most recently, a sham (she was a man). But perhaps she was just born in the right place at the right time: to an enlightened father who gave her access to the same education (fencing, riding, poetry, other languages) as her brothers; in Lyon, thriving cultural crossroads of the Renaissance.

The importance and pleasure of the work, notably the 24 Petrarchan sonnets she published alongside her Débat de folie et d ’amour, in 1555, seem indisputable, at least. Labé’s language is limpid, uncluttered; each line often a unit of sense, a clear foil for the aural underpinning of the logic, or argument, of its sonnet: rhyme, alliteration and assonance chime and fuse with unmistakable authority.

It seemed to me that I needed to hold onto, or recreate, that clarity, and cohesion, if I was to have any chance of capturing the bravado and enterprise of the sequence as a whole. These twenty four sonnets explore the way the imagination unlocks sensual pleasure; they enact, through form, an elusive reciprocity; they reclaim ringfenced areas of language and culture.

In short, Louise Labé rewrites the male Petrarchan tradition, giving it a blast of positive, debunking energy, a strong female voice and an intelligent physicality.

Kiss me again