Dancing Priest

Author and Novelist Glynn Young

Poetry

“Your Accent! You Can’t Be from New Orleans!”

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When you’re born and raised in a city like New Orleans, you become aware of certain things very early on.

First, there’s food. The basic New Orleans food groups are red beans and rice (on Mondays), crawfish, shrimp, beignets, and drive-thru daiquiris to go. A fifth food group might be the muffuletta. When I’d stay with relatives in Shreveport in north Louisiana, one aunt would make sure she fixed rice, because she worried I might be homesick.

Second, there’s weather. You’ve never met humidity like what saturates New Orleans. When you live in a place bounded by a lake, a river, and a gulf not too far away, and it’s built on swamp and bayous, then you will know what real humidity is like.

Third, there’s the accent. It’s not exactly unique; there are echoes of the New Orleans accent in Brooklyn and even south St. Louis. It’s a multicultural gumbo of influences, including French, Spanish, Cajun, Black American, Jewish, Italian, and German, embedded within American English. New Orleanians would be completely at home ordering in a crowded deli in Brooklyn.

To continue reading, please see my post today at Tweetspeak Poetry.

Photograph: Beignets by Julian Rosser via Unsplash. Used with permission.

What Happened to the Fireside Poets?

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When I first envisioned my novel Brookhaven, I focused on a family story passed down through generations, which turned out to be a legend, as in, almost entirely untrue. But two things shifted my focus. 

First, in 2022, I had the old family Bible conserved. It had seen better days; my father gave it to me wrapped in grocery store bag paper and tied with strong. My contribution had been to remove the paper and string, wrap it in acid-free paper, and store in an acid-free box. It sat on a closet shelf for years, until I brought it to a book conservator in St. Louis. He discovered something tucked in the Book of Isaiah that both my father and I had missed – a yellowed envelope containing a lock of auburn hair.

For various reasons, I believe the hair belonged to my great-grandmother Octavia. She died in 1888 at age 44. Unusual for the time, my great-grandfather Samuel never remarried. He died in 1920. And I thought to myself, “There’s a love story here.”

Second, also in 2022, we saw a movie entitled “I Heard the Bells.” It’s a snapshot of the life of Henry Wadsworth Longfellow (1807-1882) during the Civil War, including both the tragic death of his beloved wife and the near death from a war wound of his oldest son Charles. Both events contributed to Longfellow’s writing the poem that became a Christmas hymn, “I Heard the Bells on Christmas Day.” 

To continue reading, please see me post today at Tweetspeak Poetry.

Illustration: Henry Wadsworth Longfellow.

Longfellow’s “Paul Revere’s Ride”: Creaing a National Legend 

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It’s a tossup as to whether the most famous or best-known poem in America is Clement Moore”s “A Visit from St. Nicholas” (aka “Twas the Night Before Christmas”), first published in 1823, or Henry Wadsworth Longfellow’s “Paul Revere’s Ride,” (1860). My money is on “Paul Revere’s Ride.” Whole generations of schoolchildren, myself included, grew up reciting the lines that begin “Listen my children, and you shall hear…” 

Both poems are no longer taught in most of America’s public schools, but I know from my grandsons’ experience that they are taught (with great gusto) in many private schools, especially those offering a classical education. “Paul Revere’s Ride” commemorates one of the significant of the beginning of the American Revolution, a horseback ride at night to warn the cities of Lexington and Concord that British troops were coming.

That ride occurred 250 years ago tomorrow.

To continue reading, please see my post today at Tweetspeak Poetry.

Artwork: the illustration accompanying the poem in the January 1861 edition of The Atlantic Magazine.

Footsteps at St. Bride’s

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During a recent trip to England, we took advantage of our trip coinciding with London Open House, two successive weekends where citizens and tourists alike can view many buildings usually closed to the public, or take walking tours, or get behind the scenes views of many places that are open to the public. 

One of the places we visited was St. Bride’s Church on Fleet Street, known as “the journalists’ church.” Fleet Street as the home to Britain’s big newspapers is a memory; the newspapers and the journalists moved to other parts of the city decades ago. But St. Bride’s remains, and it’s still known as the place where journalists worshipped. 

A church has stood on this spot since the late Roman / early Briton period. It gets its name from St. Bride, or Bridget, a nun who lived in the late fifth century but who may never have visited London or England.  Several church buildings have been erected on the site. The old medieval church was destroyed in the Great Fire of 1666 and then rebuilt by Sir Christopher Wren. It was destroyed again, on December 29, 1940, during an incendiary raid by German bombers. But it was rebuilt as close to the Wren building as possible and reopened in the late 1950s.

It’s a beautiful church. We were able to descend through 2,000 years of history to see the crypt, with its old Roman wall, the nameplates found on old coffins, and two chapels, including a small medieval chapel whitewashed and made into an intimate worship space. 

I had some to time to sit in that chapel, and I did. And it was there that I thought I could hear footsteps above and around me. 

Footsteps at St. Bride’s

I hear footsteps here, overhead
and around, echoes of Celts.
and around. echoes of Celts
and Romans, Britons and
Saxons, Vikings intent on loot
and pillage. And the builders
and architects, bricklayers
and monks, whispering of
the Irish saint inspiring it
all. Footsteps become
louder, years passing,
building and tearing down,
rebuilding and reconstructing,
and footsteps running,
accompanied by screams
and the roar of fire. And more
rebuilding, with the Architect
himself stacking the spire
like tiers of wedding cake,
standing in splendor over
the newspapers of growth
and empire so pervasive they
defined generations. I hear
more footsteps, first those
running from the bombs and
then those running to fight
the fire, but above me is ruins.
Yet new architects and
new builders return, workmen,
intent on recreating what
was once there. Newspapers
move on, but the footsteps
remain. They never go away.

The Anonymous Spot with an Incredible History

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If you like Brutalist architecture, and I don’t, an excellent example of it is the U.K. Ministry of Justice Building in London. It’s located near Buckingham Palace, where the streets of Petty France and Broadway converge. I’ve passed the building dozens if not hundreds of times, on my way to and from the St. James’s Park tube station. It’s right around the corner from where we stay when we visit London.

The complex was designed by Sir Basil Spence, a celebrated architect associated with the Modernist / Brutalist style (some call it the Soviet style). In fact, Spence had a plan to replace most of the government buildings in Whitehall with buildings like this one. Fortunately, the plan never became reality, except for this building which at its top resembles Darth Vader. At least Darth Vader had a personality.

On a recent visit to London, I signed up for a walking tour of the Petty France area, offered by London Open House. It’s a rather neat program offered each September, with hundreds of places to visit or numerous walking tours you can take, all focused on architecture. The Petty France tour was right near our hotel, so I thought, why not?

The Adam and Eve Pub on Petty France

The thing about London is that it’s been built, destroyed, rebuilt, attacked, burned, bombed, and rebuilt yet again for the past 2,000 years. Wherever you go, you see what’s there, and you also know you’re walking upon the ghosts of history. A lot of ghosts, and a lot of history.

After several stops and chats, including one in front of our hotel which the guide explained had started out as a block of mansions, or flats, we turned on to Petty France. The street got its name in medieval times. It was the center of the wool trade, and because so much English wool went to the continent, it passed through the hands of the French wool merchants, who lived in this area. The name was changed during the French Revolution (when anything French was suspect in Britain) to the Duke of York Street, and then it was changed back to the Petty France in the World War I period, because France was now an ally and there were just too many Duke of York streets in England for the postal office to keep track of.

We passed the Wellington Guards Barracks, and then we stopped at the corner of the Justice Ministry building pictured at the top.

If you wanted to design something that looked nondescript, anonymous, and vaguely threatening, this corner is it. It’s difficult to imagine anything historical ever happening here; Sir Basil’s brutalist building shuts the imagination down hard. And yet this spot is one of the most significant spots in the history of English literature.

The only hint is the pub diagonally across the street. It’s called the “Adam and Eve,” and on weeknights and especially Fridays after work, patrons spill out onto the sidewalk and even into the street, chatting and drinking their pints.

Our tour guide pointed to the pub and asked if any of us could guess where we were standing. None of the 30 people on the tour had a clue, so he told us.

In a house that occupied this personality-less spot, between 1652 and 1658, the poet John Milton wrote Paradise Lost. Actually, he dictated it, a necessity because of his blindness. He referred to this house as “a pretty little garden house;” Vic Keegan’s Lost London has a nice illustration of what the house looked like superimposed on the photograph of the Ministry of Justice building.

History abounds in this part of Westminster. Around the corner from the Justice building is a home built by John D. Rockefeller. The Queen Anne architectural style began here. The collection that eventually became the British Museum started in a house here. The model for M in the James Bond stories lived here, and he actually had a tunnel connecting his house on Queen Anne’s Gate to the Special Operations Building on Broadway. The Cockpit Stairs leads down from Queen Anne’s Gate to connect to Birdcage Walk, and, yes, it’s named for the cock fighting that went on in the 17th century. The printer William Caxton has his presses here for a time.

But it was that spot where Milton’s house had stood that stayed with me. The house had likely disappeared long before Basil Spence arrived with his concrete. But here, on this spot I’ve passed so many times, a blind poet composed one of the greatest poems in English literature.

The Random Act of (Finding) Poetry on the Web

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My love for poetry developed in three critical times. First was discovering T.S. Eliot in high school, introduced by a wild and larger-than-life English teacher who wore turbans and proclaimed that Valley of the Dolls by Jacqueline Susann was the greatest work of American literature. Well, no, but she was right about T.S. Eliot.

The second critical period was through a friend in the early 1980s, who said I couldn’t be a “real speechwriter” unless I read Eliot, William Butler Yeats, and Wallace Stevens. I don’t know whether he was right or wrong, but I took his advice to heart and started reading them.

T.S. Eliot

Third was the year 2009. Idly searching on the web for something unrelated, I found The High Calling Blog, which mostly focused on the daily practice of faith in our work but also had a regular poetry feature, “Random Acts of Poetry.” This Friday feature involved poems on a stated topic with links to others writing on the same topic. One thing led to another, and not too long after that, I was participating in Random Acts of Poetry and eventually The High Calling itself. 

The faith-in-work site came to an end in 2015, but the idea of Random Acts of Poetry lived on at Tweetspeak Poetry. It’s become an annual event, and it’s focused on painting poetry in the public square. It’s held on the first Wednesday of October, which this year will be October 2.

Tweetspeak Poetry has several resources to help – a handbook you can download for free, poetry prompts, ideas for how to bring poetry into the public square, examples, and more.

In 2017, Random Acts of Poetry Day coincided with a vacation in London. I planned ahead of time and printed out several poems by different authors already and cut down to size for suitable abandonment in different places, like our breakfast table in the hotel, a London double-decker bus, a display table at the National Theatre, and on the tube or underground. You don’t know what happens to the poems, and that’s the fun in the randomness – imaging how a poem by Eliot or Emily Dickinson or William Carlos Williams or even you might be read and understood by a stranger.

I rediscovered this poem I wrote back in May 2010. It wasn’t left randomly somewhere; it was linked from the High Calling site. The prompt that day was to go to an ancient place and relive the moment. I went back to ancient Greece. The subject is one of the handful of people who heard the Apostle Paul in the marketplace in Athens and followed him; most of his listeners that day thought he was insane. But a few didn’t.

St. Paul in the Areopagus by Raphael (1515)

Dionysus

Yet another day in this ancient place, this Romanized sepulcher,
this urbanized temple to worship what never was, this sacrifice
of marbled skin and stone life-blood, paleness of what was.

Yet another span of hours, sameness and tedium; another day
of listening to the new ideas that are neither new nor ideas,
because of the baneful and prideful duty of an archon.

Today a respite from legalities – a babbler commending us for
our gods, known and unknown. What an impudent fellow, as if
our gods known and unknown actually cared for him and for us.

Although he speaks socratically, with both passion and calm,
like a voice of iron in the forge, does he know the fate of Socrates?
We kill our prophets; assassinate our heroes; poison our truthsayers.

I half-listen until I see Damaris, seated at the front of the crowd in
rapt attention, hearing the babbler’s siren song. Damaris, my soul
mate, my consolation and affirmation that I am not wholly mad.

She is transfixed. The others murmur, laugh and snicker. I turn to
face the babbler, with his thorned flesh. And in that flash of time I
first listen, my soul is seared, torn, shattered like smashed stone.

My heart is pierced; my heart so dead in sameness and tedium, is
stabbed, consumed with the same words that force the crowd’s
laugh and sneer to rise in an illusion of levitation and levity.

The babbler’s piercing look silences the crowd. He leaves with his
few close behind him. I stand to see my white robes now stained
with spilled red from my fingernailed palms, an archon’s stigmata.

Silence gives way to sardonic sneers of those who cultivate minds
of emptiness, the intellectualism of the void. I run to catch the
babbler with the thorn and piercing look, Damaris at my side.

I am broken, she says.
I am not mad, I say,
and run faster.

Consider joining in the fun and celebrating Random Acts of Poetry on Oct. 2. And leave a comment at the Tweetspeak Poetry site with a link or a report.

Top photograph by Jon Tyson for Random Acts of Poetry Day at Tweetspeak Poetry.