unmappable, unlocatable, uncertain, confused, not knowing, unknowing, illegible
- Bewilderment/ Fannie Howe
- Bewilderment is at the core of every great poem
- The Poetics of Bewilderment
- Less Than Certain
Alone in the forest, stranded at sea, wandering in the desert—the kinds of stories that move me are the ones where we continue to find ourselves shrouded in the unknowingness of being. Every day begins and ends like this: the galaxies are ever moving away from you. Inside the planetarium, I leaned into the swathy darkness, and somewhere scientists sensed an unknown, invisible web holding the universe together, to which they gave the name “dark matter” and “dark energy.” Projected on the ceiling, it looks like a vast and intricate skein parachuting our bodies. In my favorite essay by Fanny Howe, she starts, “Bewilderment as a poetics and an ethics,” and from the body of text that follows, a vocabulary emerges like a collection of nodes: mystery, hidden, unlocatable, complexities, perplexities, errancy, fluidity, spiraling
Bewilderment, Unknowing, and my Vision
knowing and not knowing, embracing the uncertainty of never really knowing and accepting that knowing exactly what my vision problem is won’t make a difference in my treatment (there is none) or the speed at which my central vision deteriorates. And, in fact, knowing is not possible. This not knowing is not ignorance–more like never knowing enough, having perpetually incomplete knowledge, the impossibility of KNOWING.
bewilder or be wilder?
the wilderness within us is the space/place/opportunity for joy, mystery, astonishment, wonder, delight
wilderness defined by McKay, Vis a Vis:
capacity of all things to elude the mind’s appropriations
Ross Gay’s The Book of Delight
The body, the life, might carry a wilderness, an unexplored territory, and that yours and mine might somewhere, somehow meet. Might even join.
And what if the wilderness–perhaps the densest wild in there–thickets, swamps, bogs, uncrossable ravines and rivers–is our sorrow?
This is one of many poems I wrote in a short period of time early last year, when I stepped away from writing The Crying Book-—my first work of nonfiction—to return to my home form. I was seeking all sorts of wisdom from Merriam-Webster, trying to understand what layers there are to the words I think and speak, finding shiny edges I hadn’t known before: new to me, but long-known to the words themselves. Then, as one does, I followed the words into a figurative space, where they invited me to get lost. I’m never able to get quite as lost as I want to, but with each poem I get a little closer (Heather Christie discussing her poem, “What Big Eyes You Have”).
SOJOURNS IN THE PARALLEL WORLD/Denise Levertov
We live our lives of human passions,
cruelties, dreams, concepts,
crimes and the exercise of virtue
in and beside a world devoid
of our preoccupations, free
from apprehension—though affected,
certainly, by our actions. A world
parallel to our own though overlapping.
We call it “Nature”; only reluctantly
admitting ourselves to be “Nature” too.
Whenever we lose track of our own obsessions,
our self-concerns, because we drift for a minute,
an hour even, of pure (almost pure)
response to that insouciant life:
cloud, bird, fox, the flow of light, the dancing
pilgrimage of water, vast stillness
of spellbound ephemerae on a lit windowpane,
animal voices, mineral hum, wind
conversing with rain, ocean with rock, stuttering
of fire to coal—then something tethered
in us, hobbled like a donkey on its patch
of gnawed grass and thistles, breaks free.
No one discovers
just where we’ve been, when we’re caught up again
into our own sphere (where we must
return, indeed, to evolve our destinies)
—but we have changed, a little.
I love the idea of nature not caring about our preoccupations and of living in and beside it and of a moment or an hour in which we can drift and lose track of ourselves as we respond to nature–which is, by the way, what running enables me to do by the gorge for at least a few seconds every time I run. I also love how she describes nature in such simple forms: cloud, bird, fox. With my vision and how it makes objects fuzzy, sometimes all I can recognize is the basic form: person, tree, boulder, river, bird
This valuing of losing track of ourselves is central to my own goals and has me thinking that it is just as or more important than the constant refrain to find ourselves.
What would it look like to center/prioritize losing instead of finding ourselves?
Lost/ David Wagoner
Stand still. The trees ahead and bushes beside you
Are not lost. Wherever you are is called Here,
And you must treat it as a powerful stranger,
Must ask permission to know it and be known.
The forest breathes. Listen. It answers,
I have made this place around you.
If you leave it, you may come back again, saying Here.
No two trees are the same to Raven.
No two branches are the same to Wren.
If what a tree or a bush does is lost on you,
You are surely lost. Stand still. The forest knows
Where you are. You must let it find you.
I’m not sure what I think about the first line: “Mostly I’d like to feel a little less, know a little more” (from the poem “Epistemology”) I’ve been writing a lot about the limits of knowing and the need to feel the force of ideas more. Yet, I like this idea of knowing as becoming familiar with things (knowing knots) and acquiring interesting facts (about preventing fraying, how trees communicate). I’d like to distinguish between knowing as familiarity and knowing as conquering/mastering/fully understanding. I’d also like to put this poem next to another poem I discovered this fall, Learning the Trees, which I posted in my sept 15 log entry. I want to ruminate some more on the difference between learning and knowing and Knowing.
What moral resources might we draw upon to help us resist the urge to shore up our unknowingness and assert our “truths” in violent ways and what type of character must we cultivate in order to embrace “unknowingness at the core of what we know, and what we need…” (Undoing Gender, 227)?
The aim of discomfort is for each person, myself included, to explore beliefs and values; to examine when visual “habits” and emotional selectivity have become rigid and immune to flexibility; and to identify when and how our habits harm ourselves and others (Megan Boler, 185-186).
The first sign of the success of a pedagogy of discomfort is, quite simply, the ability to recognize what it is that one doesn’t want to know, and how one has developed emotional investments to protect oneself from that knowing. This process may require facing the “tragic loss” inherent to educational inquiry; facing demons and a precarious sense of self. But in so doing one gains a new sense of interconnection with others. Ideally, a pedagogy of discomfort represents an engaged and mutual exchange, a historicized exploration of emotional investments. Through education we invite one another to risk “living at the edge of our skin,” where we find the greatest hope of revisioning ourselves (200).
a dreamlike state
We are taught/ disciplined to be certain: “When encountering Chen’s sui generis mango, my student’s first instinct—perhaps instilled in high school, perhaps innate to the practice of close reading—was to determine for certain what it was doing in the poem. If you’re taught that every instance of an apple is an allusion to Genesis 3:5–22, then what exactly must a mango signify?”
teach students how not to understand a poem and to embrace that not everything in a poem can ever be understood, even by its author
a prayer: make me less certain
epistemology of doubt: “The difference between myself and a student is that I am better at not knowing what I am doing.”