Category: No Name for It

As I grow older my hands open more slowly…

My hands are today helpless. I used them to vote against fascism just last week. It was foolish of my hands to think they had power. Today my hands are grieving and their grief differs from that of the head or heart: my hands are those of a sailor who desperately wants to put the ship on the right course—hands that are educated, seasoned, and moral.

As I grow older my hands open more slowly. Maybe they know more? What’s empty turns its face to us, said a good poet, long ago. My hands read Braille poorly. My hands which have touched Marcel Duchamp’s bicycle wheel. Hands that pull the voting lever for freedom.

There are several good books about hands. One of my favorites is “Victorian Hands: The Manual Turn in Nineteenth Century Body Studies” edited by Peter J. Capuano and Sue Zemka. Hands are transformed by the industrial revolution—they become vulnerable instruments seemingly designed through evolution to operating machines. They are all too often dismembered. Hands become “throw aways” as much as anything else.

My hands are today helpless. I used them to vote against fascism just last week. It was foolish of my hands to think they had power. Today my hands are grieving and their grief differs from that of the head or heart: my hands are those of a sailor who desperately wants to put the ship on the right course—hands that are educated, seasoned, and moral.

What about the hands of those who voted for fascism you say. These are the descendent hands of industrial labor, desperately caught up in the machines of their own doom. They voted, essentially, for “throw away” hands.

My favorite poem about hands is by Jane Hirshfield

A hand is not four fingers and a thumb.
Nor is it palm and knuckles,
not ligaments or the fat’s yellow pillow,
not tendons, star of the wristbone, meander of veins.

A hand is not the thick thatch of its lines
with their infinite dramas,
nor what it has written,
not on the page,
not on the ecstatic body.

Nor is the hand its meadows of holding, of shaping—
not sponge of rising yeast-bread,
not rotor pin’s smoothness,
not ink.

The maple’s green hands do not cup
the proliferant rain.
What empties itself falls into the place that is open.
A hand turned upward holds only a single, transparent question.
Unanswerable, humming like bees, it rises, swarms, departs.

The ADA @ 30, “Why It’s Like Poetry”

I can’t tell you how to laugh or love someone. I certainly can’t tell you where poems come from or what will stir my heart or yours, say, in the next hour. 

The things I can’t tell you make a considerable list. I won’t write it. You have your own even if you don’t generally acknowledge it. 

I love a photo of the great opera tenor Enrico Caruso who is gently guiding Helen Keller’s cosmic finger tips across his throat as he sings for her Samson’s aria about losing his sight. Caruso was a genuine peasant and grew up in terrible poverty in Naples. By the tine of the photograph he was as famous as Theodore Roosevelt. Helen Keller was certainly just as much a public figure. And there they are, having what a later generation would recognize as a “Vulcan Mind Meld” and whenever I think of this photo I want to be Helen’s fingertips. I want to feel the luscious electrolysis of mystery-static coming through. Imagine! Touching Caruso’s throat! 

I write poems in rain and in the sun. I fall down stairs. Once when I was much younger than I am now I successfully stood on my head while a young woman I loved fed me jelly beans. I fell over. 

I lie down and dream of Edgar Poe’s best laugh. It was a vengeful laughter and probably more than that for it was likely mean spirited. It probably came after he met Walt Whitman who he thought a simpleton. Then there was Whitman’s laugh, which came later, at Pfaff’s saloon, and which had no Poe in it. 

Where does the bitterness go?  I can’t tell you.

I can’t tell you about the winds of my boyhood which kept me awake at night. I’m not that boy any longer. The winds produced stories in me. I don’t remember them now. I do recall that I always insisted to my father that he leave the window open. Even in winter I wanted it open just a crack.

I most certainly cannot tell you how in private I launder my shirt of happiness.

Can’t describe how the stars lean close when I’m mumbling “it’s alright, it’s alright” to an aging dog.

Can’t tell you how it is I can forgive the walls.

Of the ADA @ 30 I can’t tell you what it means. I stop wet faced, inner tears of joy and desperation welling. 

There are substantial obstacles. There are miracles that have not yet healed. 

I can’t describe poetry. I’ve the law on my side. 

Whether you’re disabled or not I can’t say when cordiality or affection will come. 

I wear an imaginary sapphire on my finger. 

I eat the white flowers from a table and the rich people don’t notice. 

Blind, crossing the street. 

Like all disabled I work out things in my peculiar way.

Poetry? What is that?

I’m lighter than a child’s hand. 

Hay Scratching Hay

When I was a kid I fell in love with a Victrola in my grandmother’s attic. What was I doing up there? It was summer. Kids were playing ball. And there I was with a wind up gramophone with a metal horn. Blind kid alone with an old fashioned record player at the top of a Victorian house. I fell in love with that machine. It worked perfectly and there were dozens of records featuring the great Enrico Caruso. You have to picture me, five years old, a little lonely, and then stunned to hear such a voice under the eaves. I’ve loved Caruso’s voice all my life and yet, even now, sixty years later, hearing him pulls me back to my provincial first opera house.

There were lots of artifacts in that attic. A raccoon coat, a sea captain’s chest, a cracked boudoir mirror, cane chairs that were eaten through, dusty books, a sewing machine, oddments of all kinds, tools I couldn’t identify. I explored with my hands while the great tenor sang of vengeance or a broken heart.

Think about your private opera. I was lonesome as a cricket. I was in love with a strange singer.. Best of all I’d no one to tell.

I still hear the needle hitting the record. The sound of hay scratching hay.

In my case poetry has always been a kind of forsakenness. The solitude glitters. Do you know this feeling? Rain runs down the window and you press your forehead there. You see you need nothing.

D. H. Lawrence wrote: “It’s no good trying to get rid of your own aloneness. You’ve got to stick to it all your life. Only at times, at times, the gap will be filled in. At times! But you have to wait for the times. Accept your own aloneness and stick to it, all your life. And then accept the times when the gap is filled in, when they come. But they’ve got to come. You can’t force them.”

Yes there are moments when the fire warms and the inn is open. Family and lovers; neighbors, strangers well met—a trusty dog. Behind this scrim is the solitude. It was me. It was the voice of a tenor singing in the dark.

Wood Work

In Finland they’re hunting for mushrooms and berries—
Time to make the old soup.
Here in America I stare at my hands.
I write some words about faith.
Last night a stray dog came to my door.
Summer will be ending soon.
Sometimes a poem is a way of sitting at the end of a bench
With an imaginary cap over your ears.
Which hat will I wear this winter?
I’m the king of the unswerving.
Watch as I whittle this stick.

Thinking of Cesar Vallejo, Early Morning, in the Age of Police Brutality

I want to begin with a short poem by the great Peruvian poet Cesar Vallejo, translated by Robert Bly: 

Black Stone Lying On A White Stone

I will die in Paris, on a rainy day,

on some day I can already remember.

I will die in Paris—and I don’t step aside—

perhaps on a Thursday, as today is Thursday, in autumn.

   It will be a Thursday, because today, Thursday, setting down

these lines, I have put my upper arm bones on 

wrong, and never so much as today have I found myself

with all the road ahead of me, alone.

   César Vallejo is dead.  Everyone beat him

although he never does anything to them;

they beat him hard with a stick and hard also

   with a rope.  These are the witnesses:

the Thursdays, and the bones of my arms,

the solitude, and the rain, and the roads. . .

This poem has been much on my mind for several reasons. Vallejo wrote it in despair and weariness. As a Marxist poet living in exile in Paris he was hounded by the police, was frequently arrested and subjected to beatings. His is the true story of literary exile in Paris as opposed to the white privilege story of Hemingway and his circle. Hemingway’s crowd held no political positions and fought for no causes. 

It’s also been in my thoughts because it’s about life inside the broken body which to my mind makes it a disability poem. His upper arm bones are wrong, his will can’t change the fact, and like so many cripples he finds himself alone. The only witnesses? The opaque and unfeeling days. 

The third reason the poem’s been in my thoughts is that we’re living in a globalized police state now. From Minneapolis to Mumbai; from Atlanta to Ashgabat police violence is not just the norm, it’s welcomed by the ruling classes. This poem is about the toll this takes “on the inside”—what this does to “the inner life.”

The poet will die in Paris on a rainy day—a day he can already remember, for death by persecution really never ends. 

It’s a brave poem. It skips the contemporary American penchant for lyric poems that sentimentalize the glories of nature or the joys of sex.  

It’s a brave poem. There’s a hint of Orwell. (The jackboot that’s going to step on you throughout eternity.) 

It’s a brave poem. Cesar Vallejo never does anything to anyone and they beat him for his very consciousness and his foreign appearance. 

It’s a brave poem because he wrote it without sentimentally. 

It is much on my mind. 

Disabled in the Faculty Ranks, A Tiresome Tale…

If you’re like me and you’ve a disability and you work in higher education you know that discrimination on the basis of physical difference is just as rampant from the left as the right. If you’re a faculty member who requires accommodations in the workplace you’re a nuisance. You might even be an embarrassment. I’ll never forget walking in a faculty procession with my guide dog and actually hearing a university trustee snicker as I passed. The chuckle wasn’t friendly and it spoke volumes. “Look! There goes our esteemed faculty! I always told you they didn’t know anything!” This happened at Syracuse University and yet it could have occurred on any campus. Disabled faculty are not the norm. Worse, we face bureaucratic delay and dismissive arguments when we bring up the inaccessibility of physical and digital spaces.   

I submit it’s hard to avoid growing bitter. It’s hard to feel the very apparent lack of interest in disability discrimination even from faculty who hail from other marginalized positions. No one wants to imagine disability as being intersectional. Diversity and inclusion generally doesn’t include the cripples. Because this is so, the loneliness of being disabled in the faculty ranks is considerable. Ableism is a machine for isolation and deprivation. When you say, well people of color also have disabilities people look at their watches. The great liberal fiction is that universities are welcoming. All of this came to the surface for me this morning when I read about two black professors at the University of Virginia who were denied tenure. The academy does not welcome bodies of difference and while I’m not a person of color I can say I’ve seen the discriminatory daily routines “up close and personal” and I’m getting pretty close to being worn out. 

Not so long ago I was called an “ignoramus” by a fellow faculty member who was snotty to me and my white cane. I know, it’s hard to believe. Of course It is never appropriate to call anyone an ignoramus in an educational setting for the term’s antonym s are “brain “ and “genius” and its synonyms include: airhead, birdbrain, blockhead, bonehead, bubblehead, chowderhead, chucklehead, clodpoll (or clodpole), clot [British], cluck, clunk, cretin, cuddy (or cuddie) [British dialect], deadhead, dim bulb [slang], dimwit, dip, dodo, dolt, donkey, doofus [slang], dope, dork [slang], dullard, dum-dum, dumbbell, dumbhead, dummkopf, dummy, dunce, dunderhead, fathead, gander, golem, goof, goon, half-wit, hammerhead, hardhead, idiot, imbecile, jackass, know-nothing, knucklehead, lamebrain, loggerhead [chiefly dialect], loon, lump, lunkhead, meathead, mome [archaic], moron, mug [chiefly British], mutt, natural, nimrod [slang], nincompoop, ninny, ninnyhammer, nit [chiefly British], nitwit, noddy, noodle, numskull (or numbskull), oaf, pinhead, prat [British], ratbag [chiefly Australian], saphead, schlub (also shlub) [slang], schnook [slang], simpleton, stock, stupe, stupid, thickhead, turkey, woodenhead, yahoo, yo-yo…

As a disabled person I know full well what the delegitimizing effects of language can do to anyone who hails from a historically marginalized background but where disability is concerned the labeling I’ve described has a particularly specious and ugly history. Idiot, moron, half-wit, dolt, cretin are all familiar to the disabled. One would expect relief from these terms at a university. What’s particularly galling is that the subject I was discussing with the professor in question was ableism—namely that I’d said hello to him on an elevator, I, a blind man with a white cane, and he simply stared at me. No acknowledgement. When two students got on the elevator he lit up and talked breezily about how he hates snow. I followed him to his office and said that by not acknowledging a blind person he creates a social dynamic that feels off-putting and I wanted to discuss the matter. He became instantly contemptuous.

Now of course that’s because of the synonyms above. In this man’s antediluvian world view the disabled really shouldn’t be in the academy. Ableism is not only more pervasive than people generally understand its also more consistent at universities than is commonly recognized.

As for me, I’m an ignorant man to professor “p” for that’s what I’m calling him. “P” for privileged.

He doesn’t know it yet, but incapacities likely await him.

Some day, long after I’m dead colleges and universities will be welcoming places for all. And disabled folks who are people of color will thrive. And yes blind people will not be laughed at. 

Of Floating Barrels in Virus Time

In Mark Twain’s “Life on the Mississippi” which I consider to be his greatest accomplishment (for it is Twain as scholar, essayist, and social psychologist) he describes a crew of riverboat men who think they’re being followed by a floating barrel of supernatural origin:

“Everybody was sober and down in the mouth all day. I don’t mean the kind of sober that comes of leaving liquor alone—not that. They was quiet, but they all drunk more than usual—not together—but each man sidled off and took it private, by himself.”

Now a barrel is just a barrel and a virus is just what it is. The virus does’t care about your mood and while you can use war metaphors all you like it is not your enemy. This is why Donald Trump’s press conferences are so dreadful. Dr. Fauci recognizes the virus is just what it is and needs to be confronted with reason. Trump turns it into a figure of sinister foreign origins or a hoax or a political cudgel.

^^

I carried around with me for years a tattered copy of the “Oxford Book of Superstitions” and I think I still have it somewhere. In Scotland it was believed as late as the 18th century that upon leaving the house if a man or woman met a blind person they would go blind UNLESS they went to the woods and located a tree with two trunks—a tree with a crotch filled with water. They had to gather that water and, as they say in cookbooks, put it aside. Then they had to find a black cat and burn it. Retrieve the water and mix it with the cat ash. Rub this fetid unguent in your eyes. The “Oxford Book of Superstitions” does not say where this apothecary and alchemical nonsense originated.

**

I hope you’re too wise for superstition. If you’re American I have my doubts of course. In general the great migrations of the late 19th century brought plenty of evil eyes and hats on the beds to the good old USA. My Finnish grandmother once shook hands with Richard Nixon and she didn’t wash her hand for a whole month. Imagine.

I’m guessing my good old Finnish grandmother thought Nixon’s handshake a harbinger of luck. She’d have been better off hanging a golden horseshoe above her door.

Did you know the Romans used to hang horseshoes above their doors to ward of plague?

**

Americans also like to “knock on wood” and cross their fingers.

My favorite widely believed contemporary superstition is “the itchy palm”:

There are many variations on this superstition. But the idea of having an itchy palm generally refers to someone who is greedy or has an insatiable desire for money.

In Shakespeare’s “Julius Caesar,” Brutus says, “Let me tell you, Cassius, you yourself are much condemned to have an itching palm.”

Some believe that if the right palm itches you will meet someone new, while an itchy left palm means that money is coming.

Others say that an itchy right palm means money coming in and a left-handed itch foretells money going out.

The superstition warns you not to scratch your palm unless you want to counteract the effect. The only way to scratch it without stopping the effect is to use lucky wood or brass.

https://www.everydayhealth.com/healthy-living/10-common-superstitions/

**

The disabled are thought to bring bad luck and if you think I’m joking just look at the ableist narratives going around. Our lives are deemed in many quarters to be sacrificial.

Has Someone Stolen Your Broken Soul?

What if I could tell you how the story ends? Would I be Bocaccio? Yes I’d be a moralist. Such a role is unappealing. I think we can all agree there are too many narrative moralists already. Laurence Sterne wrote: “Respect for ourselves guides our morals; respect for others guides our manners” One may fair say Americans have little respect for themselves. This is why our voters—the few who show up—dislike the most honest candidates. They require plenty of disrespect. If you believed Ronald Reagan’s oft repeated story about welfare queens driving Cadillacs you couldn’t possibly like yourself. The question before us now is can Joe Biden’s campaign which aims at reconciliation and kindness actually succeed? Can Americans decide that just for once they might vote for self-respect?

I’m not Bocaccio. Nor am I a TV pundit. I don’t have the skills of Steve Kornacki who, seemingly, can drill down into the most mullioned voter numbers. But I”d feel better if public analysis of our electorate focused on the victimization narratives that unhappy Americans live by. Left, Right, moderate, fascist, socialist, what have you absolutely all comers are like Rodney Dangerfield—they don’t get no respect. Donald Trump’s rallies are entirely about this. So are Bernie Sanders’ events. Someone is conspiring against you. You’re not sufficiently loved. There’s a deep state or the establishment or your third grade teacher who’s gonna get ya.

As a disabled person I know a good deal about persecution. I’ve been told I don’t belong almost everywhere and yes, ever since I took my first steps. I’ve lived the story of feeling like I’m not sufficiently loved. This is a trap. Victims don’t understand love. One thinks of Carl Jung’s observation: “Nothing is possible without love…for love puts one in a mood to risk everything.”

Victims take no risks.

Respect for others means you took a risk and it means you’ve learned some manners. What do I think that means? Not instantly criticizing someone who’s said something that trips your switches. Not immediately disdaining people who appear ill clothed but are driving luxury cars. Not hating yourself because some imaginary person has stolen your broken soul.

Contrarianism in the Age of Cancel Culture

In his excellent book “Letters to a Young Contrarian” the late Christopher Hitchens wrote: 

“A map of the world that does not include Utopia, said Oscar Wilde, is not worth glancing at. A noble sentiment, and a good thrust at the Gradgrinds and utilitarians. Bear in mind, however, that Utopia itself was a tyranny and that much of the talk about the analgesic and conflict-free ideal is likewise more menacing than it may appear. These Ultimates and Absolutes are attempts at Perfection, which is—so to speak—a latently Absolutist idea. (You should scan Brian Victoria’s excellent book Zen at War, which, written as it is by a Buddhist priest, exposes the dire role played by Zen obedience and discipline in the formation of pre-war Japanese imperialism.)”

Excerpt From: Christopher Hitchens. “Letters to a Young Contrarian.” Apple Books.

If you want to cancel someone (a harrowing parlance) all you have to do is say he she or they is not up to the ideal of perfection. The Fascist or Stalinist doesn’t rest until the world is cleaned of imperfect people.

I’ve always been a problem because I trouble the public nerve of ableism—which for me means the industry of harming all marginalized people for the disabled are black, brown, Asian, Latino, white, old, queer, and owing to normative formations, (utilitarianism) wishes to eliminate all who are physically different.

Not liking what someone says is not sufficient reason to eliminate them though I may wish you’d shut up. I don’t believe in the language of cancel.

Nor do I believe academics should be fired for holding loathsome opinions. If the ideas are bad they’ll not stand the test of time. 

Hitchens again:

“If you want to stay in for the long haul, and lead a life that is free from illusions either propagated by you or embraced by you, then I suggest you learn to recognise and avoid the symptoms of the zealot and the person who knows that he is right. For the dissenter, the skeptical mentality is at least as important as any armor of principle.”

It’s hard to be a dissenter because you’ll not be much applauded. 

I’m a fan of Kwame Appiah’s book “The Lies That Bind: Rethinking Identity—Creed, Country, Color, Class, Culture” which troubles the incorporation of singular cultural positions. Identity is built around insider vs. outsider negotiations or worse, willful erasures.

Identities matter to people. They offer spiritual and juridical power and create the basis for critical solidarity and progress. As Appiah points out, identity gives us reasons to do things. They also give others reasons to do things “to you” and all human rights activists know it.

Appiah writes:

“In sum, identities come, first, with labels and ideas about why and to whom they should be applied. Second, your identity shapes your thoughts about how you should behave; and, third, it affects the way other people treat you. Finally, all these dimensions of identity are contestable, always up for dispute: who’s in, what they’re like, how they should behave and be treated.”

Its the contestability of prefiguration I’m interested in. You shouldn’t subborn blackness or disability or gender to abstract, privileged philosophical thinking. But identity also creates hollow perfectionism as Hitchens knew.  I’ve seen blind people ridicule other blind people because they chose to walk with guide dogs as opposed to white canes. Cultural call out is aimed at canceling the contestable. It leads to public shaming and trolling. 

I’m also a big fan of the writer Roxanne Gay who writes about resisting the racialized and patriarchal oppression aimed at the diminishment of black women’s bodies.  No one should be able to diminish bodies. We defend our identities for excellent reasons. 

We have many things to do out there as Appiah says. Turning away from the humanitarian power of identity is not a good idea. Contesting the traps of identity rhetoric is important however. I have white privilege. I also can’t get into restaurants and taxi cabs because I have a service dog. I live in multiple identity traps. Appiah ends his book with a famous Latin quote:

“Homo sum, humani nihil a me alienum puto.
I am human, I think nothing human alien to me.”