Okay, I’ll be honest, I tried to research and write a detailed history of American poetry, but I decided I couldn’t be bothered, so here instead is a selection of the really important bits. Continue reading “Brief Highlights in the History of American Poetry”
Those of a delicate disposition are urged to look away now… Continue reading “Theatre: The Vagina Monologues”
I first came across this poem as a Christmas carol adaptation by one of my favourite contemporary Christian bands, Casting Crowns (you can listen to their version here). Longfellow (1807-1882) wrote the original in 1863, in response to the American Civil War (1861-1865). It was an intensely personal poem: Longfellow’s eldest son, Charles Appleton Longfellow, had joined the War in the Union cause without his father’s blessing, and had later been seriously wounded in Virginia.
Although it has subsequently been adapted several times, with the more specific references to the War altered or omitted, the original runs as follows:
Best known for her 1969 autobiography ‘I Know Why The Caged Bird Sings’, which detailed the good, the bad, and the ugly of her life as a Black woman in 20th-century America, Maya Angelou was deeply steeped in both the Anglo-Saxon literary tradition of the likes of John Donne and Shakespeare and the contemporary work of African-American women poets like Anne Spencer and Jessie Fauset, who are largely unknown today. Perhaps as a result of this, a woman who was an ‘outsider’ by race, sex, and class was able to speak in a way that could reach those who might otherwise have overlooked her, and those like her. In 1993 she recited one of her poems, ‘On The Pulse of Morning’ at the inauguration of US President Bill Clinton. Continue reading “Poet Profile: Maya Angelou (1928-2014)”
I read an interesting comment online recently which expressed the opinion that Christians who criticise modern worship music must be sad, lonely people who hate all music and live alone in silence with their dog. It’s probably fairly obvious from this blog that I in fact enjoy a wide range of music, including Christian music, but nonetheless I could level a number of criticisms against much (but by no means all) of the modern Christian repertoire. My key complaint, however, is the volume. Modern worship music, performed with modern electronic amplification, is often far too loud for comfort. And it’s not just me saying it…
One of my favourite hymns strikes a very different note, and it’s perhaps no wonder that it was written by a Quaker, as silence forms a key part of Quaker worship practise. The hymn is Dear Lord and Father of Mankind, and it was originally written as the climax of a poem by agriculturalist, journalist and abolitionist John Greenleaf Whittier of Massachusetts in 1872. It is traditionally sung to F. C. Maker’s tune ‘Rest’.
Dear Lord and Father of mankind,
Forgive our foolish ways!
Reclothe us in our rightful mind,
In purer lives Thy service find,
In deeper reverence, praise.
In simple trust like theirs who heard
Beside the Syrian sea
The gracious calling of the Lord,
Let us, like them, without a word
Rise up and follow Thee.
O Sabbath rest by Galilee!
O calm of hills above,
Where Jesus knelt to share with Thee
The silence of eternity
Interpreted by love!
With that deep hush subduing all
Our words and works that drown
The tender whisper of Thy call,
As noiseless let Thy blessing fall
As fell Thy manna down.
Drop Thy still dews of quietness,
Till all our strivings cease;
Take from our souls the strain and stress,
And let our ordered lives confess
The beauty of Thy peace.
Breathe through the heats of our desire
Thy coolness and Thy balm;
Let sense be dumb, let flesh retire;
Speak through the earthquake, wind, and fire,
O still, small voice of calm.
Also, I don’t have a dog. I have a cat. And chickens.
Having owned, and read repeatedly, the entire ‘Little House’ series as a child, I was already aware that Laura Ingalls Wilder had lived the adventurous childhood of a true ‘pioneer girl’ (the original working title of her memoirs). However, unlike many authors of fictionalised accounts, Ingalls actually downplayed, or omitted entirely, some of the events of her childhood. Like the brother who died in infancy (a particular tragedy at a time when it was still considered important for a man to have a son: Laura had no other brothers), or the time a man in the town where her family was living got drunk and accidentally set himself on fire. Continue reading “Author Profile: Laura Ingalls Wilder (1867-1957)”
“I hate flowers – I paint them because they’re cheaper than models and they don’t move.”
One Crucifixion is recorded—only—
How many be
Is not affirmed of Mathematics—
One Calvary—exhibited to Stranger—
As many be
As persons—or Peninsulas—
Is but a Province—in the Being’s Centre—
For Journey—or Crusade’s Achieving—
Our Lord—indeed—made Compound Witness—
There’s newer—nearer Crucifixion
A year or so ago I had some friends over for dinner and my dear and devoutly-Catholic friend Mary shared the poem above. “What does it mean?” she asked, drawing all of us into a protracted conversation not only of the themes and meanings of this particular poem but of the work of Emily Dickinson, and poetry in general (dinner conversation at my house is not to everyone’s taste). Continue reading “Poet Profile: Emily Dickinson (1830-1886)”
From the pre-Baroque up until the Romantic period, the history of classical music can be regarded as a pretty straightforward progression: with a little overlap as the avant garde raced ahead and the traditionalists lagged behind it goes Baroque 1600-1750, Classical 1750-1825, Romantic 1825-1875. Now it starts to get a little messy. Romantic music doesn’t simply disappear in the years following 1875 but continues to be composed even as other distinct styles enter the scene. Think of it as being a bit like popular music today. There’s pop. And there’s rock. There’s metal. Alternative. Dance. Trance. Hip-hop. Soul. Rhythm and Blues. I could go on, but you get the idea. Continue reading “Classical Music: Beyond Romanticism”