Inspiration

The word “inspiration” is from the Latin inspiratio: to blow into, to inflame. I began musing on inspiration today while on a walk with Spouse and Dog, during which the idea of muse came up in conversation (with Spouse; Dog kept her own silent counsel). He observed that he had never had a muse and asked if I had ever had one. I said I cannot think of ever having a person serve as my muse, but perhaps other things have played that role.

“Isn’t a muse a person?” he asked. We discussed, then, the difference—as each of us saw it—between a muse and a mentor. He has had mentors at various stages of his life; I think most of us encounter someone along the way who serves as a sage, a guide, a teacher, or as a role model. That person certainly offers a kind of inspiration. A muse, however, seems to connote inspiration of a different character or quality from mentorship. The muse acts as trigger, someone or something whose mere presence elicits a creative urge. The muse inflames, blows on the spark of creativity and ignites it.

Richard Hugo’s book The Triggering Town is justifiably famous among creative writers, particularly poets, for its author’s sensitive explanation of a source for the creative process and his description of how inspiration percolates into the creative act. He uses the example of American towns that act as triggers for memories or conjure of specific details of place and personhood. The town becomes muse. In a similar way, works of ekphrastic poetry may employ art as muse (though not always). For other creative people, music provides that initial flicker of inspiration—which seems especially fitting, given the word “music” originates from the word for the Greek muses themselves: mousike techne “art of the muses” from mousa, “muse.”

Mousa itself derives from the ancient proto-indo-european linguistic base *mon-men-mn, most closely associated with the meaning “to think, to remember.” Inspiration, though we feel it emotionally, psychologically, even physically at times, takes us into our minds, where the creativity takes place and can be formulated into art.

Much of my inspiration over the years has come from what people tend to term “the natural world”—as if we humans were not a part of that. But other things spur my creativity, including art and things I read. Having finally completed Parfit’s Reasons and Persons, I am now consuming more easily-digestible fare and finding much to inflame my interests in Alberto Manguel’s 1995 book A History of Reading, which I highly recommend.

Perhaps I will later find time to discuss the joys and pitfalls of reading several books at once. Meanwhile, I plan to spend the last light of a late winter afternoon observing hawks and woodpeckers.

Kalliope or Calliope, Athenian-style, the muse of epic poetry.

Lewis, Buber, Dickinson

“Meeting with God does not come to man in order that he may concern himself with God, but in order that he may confirm that there is meaning in the world. All revelation is summons and sending.”   –Martin Buber, I and Thou

I suppose I ought to know this, but I cannot recall reading about whether C.S. Lewis was influenced by Martin Buber’s work, specifically I and Thou. Some of Lewis’ writing seems to suggest that he agrees with the concept of relation: as Buber describes it, the stepping out to meet Thou as Thou, and the insistence that “Man’s [sic] desire to possess God” keeps said man from true relation with God (a point described in The Great Divorce through the allegorical character of the Episcopal Ghost). God has become an “It” rather than a Thou for the Bishop, though he feels he is a true believer, an error made in lesser ways by other characters such as the Big Man.

Many of the students I tutor are writing their final papers for a Theology class that uses Lewis’ texts as a foundation for the course, which is why I’m feeling a bit conversant with Lewis lately, many long years after reading his fiction and his theological writings. And a random quote (above) that I read on a colleague’s email put me in mind of Buber, whose I and Thou reads, often, like poetry….which got me thinking about Emily Dickinson.

How’s that for a train of thought? Perhaps I need to examine the concatenation step by step.

1) Buber, I and Thou, a work deeply influenced by the author’s immersion in non-Western and Cabbalistic “mysteries” (the idea of the radii and the Centre closely parallels the Hindi conceptualization of Indra’s Net, just to name one example). Buber returns to the Western religious traditions throughout, though he mentions the way of Buddha and others as he examines the ever-present confrontation with the Thou of relational experience.

2) Lewis, The Great Divorce. Students interpret this work as one in which the author outlines his agreements and differences with, among other things, ideas about free will stemming from Socratic/Platonic through Augustinian and more modern concepts of Heaven/Hell. They tend to miss the concepts of what makes union/relation significant in the choice to unite with God, but they “get” the gist of the allegory.

3) Emily Dickinson, who more informally and more frequently uses “you” and “I” to explore these depths, but whose contrarian views on soul and spirituality knit the religious with the genuine in complex and exciting ways through the art of language.

An example, in which she does employ the King James Bible diction:

725

Where Thou art—that—is Home—
Cashmere—or Calvary—the same—
Degree—or Shame—
I scarce esteem Location’s Name—
So I may Come—

What Thou dost—is Delight—
Bondage as Play—be sweet—
Imprisonment—Content—
And Sentence—Sacrament—
Just We two—meet—

Where Thou art not—is Woe—
Tho’ Bands of Spices—row—
What Thou dost not—Despair—
Tho’ Gabriel—praise me—Sire—

How similar to Buber, those lines “And Sentence—Sacrament—/Just We two—meet—”

and the idea that “Where Thou art not—is Woe—”

Poetry precedes philosophy more often than not, though philosophy may object.

Why read difficult books?

Poetry can be difficult, but I love to read it. Poetry is not the only form of ‘hard reading’ I do, though. Reading a text that’s challenging takes more time and more effort on my part, and for a person who is often pressed for time the question presents itself:

Why do I read hard books?

Bachelard. de Bolla. Girard. Kuhn. I’m immersed in Quiddities by W. V. Quine at the moment. Slow going, though I enjoy his sense of humor, because I’m not as comfortable with philosophical terms as I once was. Next up: Derek Parfit.

Philosophy, poetics, aesthetics…not as easy nor, I suppose, as entertaining as popular fiction. I admit I enjoy how novels erase the boundaries between my life and the characters’ lives, their times and places (historical? imaginary? far from Emmaus, Pennsylvania?); it is easy to feel wrapped up in a novel, and I appreciate being taken elsewhere.  I’m a fan of short fiction, too. It’s easy to love fiction.

That’s not always the effect I seek from reading, however. I read non-fiction to become informed, and I especially treasure information that is delivered in a beautiful, literary fashion. John McPhee, James Prosek, Annie Dillard, Phillip Lopate, Terry Tempest Williams, to name a few. Writers such as these make reading science and politics and biology and culture and other informational material a joy.

I read difficult texts such as philosophy and physics because I love to think. Thinking deeply has always resulted—for me—in new forms of perspective, in inspiration, and in poetry.

Poetry is sometimes difficult to read, as well. Think of the many ways the word “difficult” can mean in this poetic context: Marie Howe is difficult in a different way than Jorie Graham, or Lyn Hejinian, or Ezra Pound, Gray Jacobik, or Gregory Orr’s early collection Gathering the Bones Together.

Stuff that is hard to read can be extremely rewarding. And, when I am puzzled (which I often am), I feel inspired to question and to observe…which leads to writing. Much of what we call “art” is a response to difficulty.

Oh, how I relish the difficult!

Chapbooks still in print

I’ve had five chapbooks of poetry published, but as is not uncommon in the world of small press publications, only a few are still in print. Finishing Line Press published The Minor Fauna in 2006, and it is still available through Amazon.com. More info at www.finishinglinepress.com.

The Minor Fauna by Ann E. Michael

The Minor Fauna, poems by Ann E. Michael

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