Arts+Culture

Arts+Culture

We Are the Eighth Day, © Melanie Weidner

Poetry

After the biopsy

“Each time that we have some pain to go through, we can say to ourselves quite truly that it is the universe, the order and beauty of the world, and the obedience of creation to God that are entering our body. After that, how can we fail to bless with tenderest gratitude the Love that sends us this gift?”
                                —Simone Weil

The pathology report an icon; the tissue
staining the slide, God’s kaleidoscope.
And those cells, obeying their DNA,
cosmic dust as they whirl and split.
Why not praise cancer, relentless, blind,
that seeks and finds the lymph and blood?
Because I am unthankful, rude.
Because if I linger over this gift,
I will change, I will vanish from the earth.
In Russia, an icon of Mary has wept
for twenty years. Mary, do you see
my nuclei mutating, like words
in “whisper down the lane”? This same God
took your son away. Help me disobey.





Film

The last radio show

Robert Altman’s A Prairie Home Companion is such a deconstructionist’s dream that you almost expect the late Jacques Derrida to make a cameo appearance. Talk about reality’s insubstantiality: here we have the cinematic version of a beloved radio program, now over three decades old, whose sly conceits play on a homespun America that barely existed.
Poetry

The recovery of buried poems

Root is what I am, rootpoet
here at home among the worms,
finding here the poem’s terms.”
—Miklos Radnoti, August 8, 1944
If, as it seems, art is nothing, nothing at all—
some sleep only that lulls us toward trees,
what to make of these poems, Miklos,
where you ordered a life into lines?
That brutal stumble through the mountains
might have said enough. Or those curses sneered
by villagers, one pausing near the water well
to dust and dust his sleeves. Finally, you with the rest,
worn through, too settled for another step,
were forced to dig and dig your graves, then

kneel at last on the uncalmed earth there.
What is that light against the fields? Why,
after all that had been done? They sought
to sever tongues from thoughts—those soldiers,
certain in their silence, who carved from hurt
this tender fruit words could have grown
and given seed. Miklos, these hidden poems,
found folded in your pocket. . . . Prove, history,
how the world speaks deeper than decay:
this murmur pulled from underground,
with its challenge of a purer sound and song.

Poetry

Urban renewal

It wasn’t where we wanted to live
but you have to put down roots to thrive.
Daily we bore the shock of forbearance—
our own and our neighbors’: the noise, the smell!
Be fruitful! We tried. Soil of lead arsenate,
cadmium. We added our detritus,
peel and core: redemption. And now
our mineral prison blooms in this,
the year of our departure: now at last
the berries fruit in blue abundance.
Which goes to show our acts are not our own;
what we make does not belong to us.
At best we fade softly as timothy,
and leave our harvest to the next people.



Film

Outlaws in the outback

Great westerns have always wrestled with moral issues. John Ford’s The Searchers tackles racism; Howard Hawks’s Red River, loyalty; Sam Peckinpah’s The Wild Bunch, honor; Sergio Leone’s Once Upon a Time in the West, revenge; Clint Eastwood’s Unforgiven, redemption.