Indifference

This is my April 2nd work 🙂

In Emily Dickinson’s poems #591 and #598, Dickinson explores two deeply connected ideas: the indifference of the world to individual death and the human need to imagine something beyond that indifference. When read together, these poems suggest that while life on Earth continues without us, the human mind expands itself in order to cope with that unsettling truth.

In poem #591, “I heard a Fly buzz – when I died -,” Dickinson presents death as a disturbingly ordinary event and something that doesn’t quite affect the grand scheme of things like we’d traditionally believe. The speaker describes the moment of death as quiet and anticipatory, “The eyes around – had wrung them dry – / And Breaths were gathering firm,” as something significant is about to happen. However, instead of quietly ascending surrounded by loved ones, her Heavenly journey is interrupted by a fly. The fly’s interference prevents her from quietly drifting out of consciousness, “Between the light – and me -,” and represents the persistence of the physical world. No matter what drastic event occurs, nature presses on, performing its monotonous tasks and meaningless motions. Dickinson suggests here that death does not stop the world; rather, it reveals how little the world depends on us at all.

In contrast, poem #598, “The Brain – is wider than the Sky -,” reflects humanity’s response to this unsettling reality. Dickinson writes, “The Brain – wider than the Sky – / For – put them side by side – the other the one will contain,” claiming that the mind is capable of obtaining and surpassing the vastness of the external world if allowed. This idea becomes even more striking as she suggests the brain can “contain” the sea and even God. If the physical world is indifferent, as seen in #591, then the mind compensates by creating meaning beyond it. Humans are not satisfied with a reality in which their lives end and the world simply continues. To cope, they imagine their deaths to mean something larger in the grand scheme and that there is an after. The “largeness” of the brain, in this poem, is the innate desire to master the world and what lies beyond.

What pairs great into this thought is this striking quote I found by G.K. Chesterton:

“Poetry is sane because it floats easily in an infinite sea; reason seeks to cross the infinite sea, and so make it finite. The result is mental exhaustion. To accept everything is an exercise, to understand everything a strain. The poet only desires exaltation and expansion, a world to stretch himself in. The poet only asks to get his head into the heavens. It is the logician who seeks to get the heavens into his head. And it is his head that splits.”

With all of these thoughts combined, a revelation can be made about the powerful tensions that lie at the center of human existence. Should we choose to believe that the world continues without our presence, we’d see our contributions insignificant, but if we keep our minds closed to the idea of possibility, we’re also dimming our lights early. I think the presence of the color blue, appearing in both pieces, ties together the two previous points by marking the limits of human experience in #591 and the vastness we imagine beyond it in #598. The brain, as well as a vital organ, is a necessary tool for surviving, and making a sense of a world that does not stop for us.

Poem 185 A Wife-

It’s not that she loses the title of maid completely, when she assumes the Bride/Wife role she is now both things simultaneously. As a Bride it is tradition to serve your husband, maids serve the home. In this nature, the titles of a woman never leave, they just collect more. They become more taxed with increasing responsibility and even more so when they become the default parent of their children. What is also worrisome here, is that she is afraid of what awaits her at the top of the stairs. She’s seen how other women have experienced this same trajectory and desperately wants an out. She might not trust who is waiting for her or trust in herself to not do something rash when she does reach the top. To her, death is easier than existing in a loveless and economic focused marriage. Before she climbs the stairs, there seems to be an air of choice, but upon climbing them, she accepts the dreaded life promised to her.

Salem’s CS for 3/19

In the letters we read, Emily Dickinson consistently blurs the line between friendship, romantic love, and spiritual devotion. Her language is intensely emotional but she rarely defines or labels what these relationships mean to her. It appears she gravitates towards existing in a space of deliberate ambiguity, but why does she feel the need to avoid definition? It could be a way Dickinson garners a sense of control and maintain emotional intensity with her peers without sacrificing her immediate perception or risk losing a relationship altogether. It seems almost elementary in this light. The way she writes is sort of a “peak-a-boo” to its recipient and a quiet hope that they catch on to her affections.

By refusing to categorize her relationships, Dickinson creates space for feelings to exist in their most expansive and contradictory forms. Love, longing, admiration, and distance can all coexist without needing to be resolved into fixed identities. Dickinson pours her heart into her letters, though sporadic in nature, but it seems at various points she limits herself. It could be nerves or fear of rejection, but I believe it to be that she did not want to be viewed as feeble, or at least more than she already was. We see this every place that Dickinson is mentioned, the repeated speculation on her mental state and if she truly despised the world and could only digest it through her own writings, and its this mentality that probably pushed her to be more secretive. I believe a lot of words went unwritten due to the constraints of her time period and I wonder, if at all, how much more abstract her letters would become if written today.

To push this further into the 21st century, it seems that today’s culture actually mirrors the same dynamics witnessed within these letters. Even with more openness around identity and relationships, many people resist clear labels, whether out of a desire for independence or a fear of vulnerability. Phrases like “it’s complicated,” “I don’t want to ruin what we have,” or the “what are we?” hypothetical broaches the same frustrating ambiguity Dickinson plays into. With these social taboos becoming increasingly normal, Dickinson’s letters feel unexpectedly modern in that people feel the need to maintain a certain level of distance with others, even if they are held dearly. This brings up the question on if ambiguity in relationships is actually emotionally freeing or just bottling intense feelings to further avoid any type of accountability?

Does Dickinson exhibit avoidant-attachment romance styles? Is she a serial-noncommittal? I wonder how she would feel if she had no control in the cat and mouse game and was the one strung along.

Dickinson deserves more credit for how much mental gymnastics she put her poor contemporaries through. What a woman. (I love her)

Beauty Attached to the Revolving World

I like that we get to read Dickinson during Spring as in her writings, instead of the somber notes that I used to read in them, I see how full of life she was. Coming out of seasons that are typically the most hard, at least for me, (maybe also being without Whitman’s words for a second) these words resonate so much more. Outside looks like how she is describing in her letters and I get to experience that alongside her.

I don’t know, I’m being parasocial, but happy.

Old Men Want WW BAD

Also, something that came to my brain just now is that whenever I mention Walt Whitman to older men (60+), they always hoot and holler about his writings and intellect and it always makes me wonder if they were aware of his raging homosexuality and if they were aware, would they change their minds?

I don’t know, just run-on sentence food for thought.

To Express is Power

This is my February 10th work. 🙂

In these pages, it seems that Whitman is grateful he can have sensations at all. Sensuous acts or simply breathing the same air alongside another makes him whole. It’s this wholeness, and ability to satisfy his every waking desire, that provides a sense of control. Human connection drives his every action. How he views others either helps in the short-term for his libido or long-term for the betterment of himself. Though this feels almost carnal and selfish when scrawled in this fashion, it still illuminates how freeing it is to live without worry of the outside world. If Walt Whitman had luscious locks (other than his Santa beard), I’d say this is his way of letting his hair down and welcoming readers to do the same. It is an invitation to leave caution to the wind and express your natural desires; maybe even heighten them. New stigmas present themselves in every era of how someone should carry themselves, dress themselves, aspire to be, but what remains the same throughout history is the desire to be loved and seen.

This could be seen as retroactive, but it was interesting to read about a man being described in a sexual manner and letting the ladies have a breather. Though he did end up going into intense detail about women’s bodies, it was done so after his steamy daydream of masculinity. He then takes the original point and has a field day describing what attracts him so much to men; which leads us back to the idea of blessed expression and how important it is to have an outlet to revel in our healthy sexual desires.

Anyways all this to say, keep the sex poems coming Walt.