"But why should a metal ladder climb, straight
and sky-aspiring, five rungs above a stairway hood
up into nothing."
If we picture the scene, Schuyler is looking around as he's writing the poem and his eyes are drawn to a fire-escape thats ladder goes up five rungs higher than the stairway hood. In this moment Schuyler, unexpectingly experiences the sublime - an elavation of the soul - from surveying the ordinaryness of his scene, and not being attentive to anything in particular, and just happens upon the ladder; the idea is that one will not find the sublime if it is being sought after, rather it is found when you aren't being attentive to finding the sublime. This got me thinking and really struck a chord with me. It made me think of all the moments in which some form of culture - in the broadest sense, I don't try to pretend that it's only high culture that has this effect on me - really touches the soul. For instance listening to a piece of music, where you get a cold shiver because you find it that special; or when a poem really moves the emotion that it seeks to, etc. Essentially what I'm trying to get at is when something really connects with your mind and subsequently infuses a rush or emotion - whatever that emotion is. Last night for instance, whilst reading for the seminar Schuyler's poems, I felt a connection with 'The Payne Whitney Poems,' where a certain section called 'February 13 1975' really 'spoke to me' - for lack of a better term. I think what I like in Schuyler's poetry is that vunerablilty and fragility that is present, as a result of his mental state. A line from 'An East Window on Elizabeth Street' really touched in the seminar once I'd -we'd - unpacked its meaning: "I never thought I'd make it." The line itself is so ambiguous that it's magnificient; one can guess that Schuyler made me referring to his own anxieties about a poet - considering he didn't publish whilst his friend Frank O'Hara was alive, because he was too intimdated by O'Hara's work, or the fact he had several major nervous breakdowns.
I'm digressing slightly - massively. The main point of this was my meditation upon this idea that one can only find the sublime when they have no expectations and aren't being attentive to the search for sublimity. Having only really started to really enjoy poetry within the past year or so, it is in music that I've experienced this many times. The most vivid one that I can think of at the moment occurs in Eternal Lord - 'Get to F**k' 1 minute 20 seconds in to the song. The song slows down with palm muting and a slow beat from the drums, and suddenly the vocalist screams - I've no idea what he actually says, and lyrics websites don't tell me either, but the contrast of the breakdown and his scream gave me goosebumps the first 100 times I'd heard the song. What's sad is that now the song no longer has the effect on me because I know it's there and have experienced it many times before. This reminds me of Poe, where he says that the artist is constantly trying to reach the 'Supernal Beauty' after experiencing a taster of it: art is essentially an attempt to elavate their soul to this supernal beauty. I honestly felt that at this point in 'Get to F**k' that I reached some form of supernal beauty; what makes it slightly ironic is that I found this 'supernal beauty' in a band that have been labelled - in my opinion, incorrectly - as Death Metal!
A few other songs that have had a similar effect on me:
- Blink 182 - 'First Date' interlude
- Taking Back Sunday - 'Timberwolves at New Jersey' - the first song that I ever appreciated the 'growl' type singing - although I realise that it's barely even that
- Four Year Strong - Maniac (R.O.D) - The guitaring at the outro
- Four Year Strong - Bada Bing! Wit A Pipe! - Many things with this song. When he sings "Roll with the punches..." at the beginning, followed by the introduction of the synth and then some of the most meaningful - in my subjective opinion - lyrics: "Sing it back to me, this is your life story." The mixture of these at the start of this song has given me many a goosebump
- Fall Out Boy - 'Dead On Arrival' when I realised how special this band were, and subsequently have become since the realise of 'From Under the Cork Tree.'
- Fall Out Boy - "Tell That Mick He Just Made My List Of Things To Do Today" With lyrics that at a certain spot in time, I could really relate to
- The Academy Is... - 'About A Girl' for helping me through one of the hardest times in my life :-)
- Gym Class Heroes - 'Faces In The Hall' for being one of the only songs that can evoke such a strong emotion by the end of the song
- Pendulum - 'Mutiny' I remember driving from Canterbury to Swindon, during a previously bad part of my life, and driving down the M25, around Caterham, with this song on really loud and loving all the different part, techniques, genres all fused into one song, and feeling immeadiatly uplifted.
Lastly, the sentiment that came from the poem made me consider certain things in my life, and has made me think in a way that I didn't before: something that Schuyler, and the postmodernists would have been happy with.
I now really don't know whether to write an essay on James Schuyler or on John Ashbery for my New York module; the other module will definatly feature a Wallace Stevens essay, who I'm sure you can tell (I don't know who you are, though I will still refer to you as you) I love - once again unexpectingly stumbling across his work amidst some very average work on a previous module.
James Schuyler - 'The Payne Whitney Poems'
PASTIME
I pick up a loaded pen and twiddle it.
After the blizzard
cold days of shrinking snow,
At visiting hour the cars
beloew my window form up
in a traffic jam. A fast-
moving man is in charge,
herding the big machines
like cattle. Weirdly, it all
keeps moving somehow. I read
a dumb detective story. I
clip my nails: hard
as iron or glass. The clippers
keep sliding off them. Today
I'm shaky. A shave, a bath.
Chat. The morning paper.
Sitting. Staring. Thinking blankly.
TV. A desert kind of life.