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The Problem of Humans (Through the Lens of Poetry)

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Much soul-searching is taking place in these historically difficult times, some of it private, but some through the enormous and complicated sieve of the collective unconscious. We feel one another’s pain, enough so that once again we find ourselves re-visiting the perennial Problem of Humans, and once again hoping for the possibility to see it in a new light. The light of Poetry, for example, especially its ability to stimulate visionary thinking.”—Anita Sullivan

On the Other Hand

By Anita Sullivan

Sullivan - “Cueva de Las Manos”
Cueva de Las Manos. (Photo: Wikipedia.)

“All things live and listen by sprouting into view as remembered Beauty told into reality. . . . The old shamans, priests, and diviners, men and women, thought that this kind of thinking was the general mind-set of the inborn natural human, but that mostly everywhere it had been eroded by some strange force, reduced into the dust of amnesia, and forgotten.”—Martín Prechtel, from The Unlikely Peace at Cuchumaquic/The Parallel Lives of People as Plants: Keeping the Seeds Alive

Anita Sullivan

EUGENE Oregon—(Weekly Hubris)—1 April 2022—Much soul-searching is taking place in these historically difficult times, some of it private, but some through the enormous and complicated sieve of the collective unconscious. We feel one another’s pain, enough so that once again we find ourselves re-visiting the perennial “Problem of Humans,” and once again hoping for the possibility to see it in a new light.

The light of Poetry, for example, especially its ability to stimulate visionary thinking. Poetry is vastly under-rated, under-utilized and misunderstood in the world we have mostly inhabited as rude guests for some 250,000 years. Our inconsiderate behavior has sometimes been so gauche and ignorant that I wonder if that in itself is part of a Larger Plan yet invisible to us. Does the Earth benefit from humans wreaking havoc upon its stately code of reciprocities?

In many origin myths, some kind of original sin or fatal flaw is part of the basic nature of homo sapiens right from the start, as if the world were gleefully founded upon an error—which should in itself be logically impossible. At various times we are said to have been made of: mud, sticks, wood, cloth, and sometimes even then had to be forgiven many times in order to remain on the shelf at all.  But even though the creator god destroys each flawed version of our species when inevitably it proves to be inferior, and starts over with a different set of ingredients, the story does not allow any realistic effort to root out and avoid the endless repetition of the mistake. As if the origin myth itself is the problem because it can never be more than a framework, complete in itself but unable to include matters like quality of material, integrity of design, or anything at all about ways to improve our initial conditions.

Some ancient spiritual practices, especially in the East, insist that the ultimate and most high purpose of the Universe and everything in it is to become conscious or enlightened. Furthermore, that we humans have been very slowly, but collectively working ourselves into a state of becoming fully awake beyond simple awareness. If this is true, however, it surely seems that we should have been fully conscious for quite some time already. If the vast and powerful universe so urgently needed us in order to manifest this one trait it could not bring into fruition itself, why has it spent so much energy and still not met its goal?

I know I must be asking the wrong question all over again. Were humans long ago side-tracked by Language? Did someone empty a huge tin of alphabet letters onto the path we were following in such a carefree manner, and suddenly, as they began to blow away, we disappeared into the woods on either side, snuffling like wild boars.

There in the bush we discovered-were-discovered-by . . . Poetry! Poetry uses words in different proportions and densities than does prose. It is essentially a sixth sense, a separate way of being alive that for some reason was handed over to humans. We have an exclusive contract to preside over the eons of its unfolding. Perhaps the Universe is in thrall to our final “aha!” when we make that one last connection and become conscious.

I like to think we human beings carry inside us—like a sort of Original Virtue—a capacity for the raw metaphor that underlies everything. And metaphor is primary (in a strange mathematics of twos and threes). It is the final and the first, the breakaway, the Form that emerges of its own accord out of tendency, out of strange attractiveness, out of whim. Yet most people never experience poetry as metaphor at all, even though it is hourly revealed in the gaps of meaning that naturally occur between poetry and prose. Our odd deafness to this achingly simple state of affairs has prevented us for a very long time from returning to the full capacity for consciousness each one of us is capable of.

. . . and yes, I did end a sentence with a preposition, hoping that might be a small step in the right direction . . . .

To order Anita Sullivan’s books, The Rhythm Of It and/or And if the Dead Do Dream, click on the book covers below.

“The Rhythm of It: Poetry’s Hidden Dance,” by Anita Sullivan.

Sullivan And if the Dead Do Dream

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Born under the sign of Libra, Anita Sullivan cheerfully admits to a life governed by issues of balance and harmony. This likely led to her 25-year career as a piano tuner, as well as her love of birds (Libra is an air sign), and love of gardening, music, and fine literature (beauty). She spent years trying to decide if she was a piano tuner who wrote poetry, or a poet who tuned pianos. She traveled a lot without giving way to a strong urge to become a nomad; taught without becoming a teacher; danced without becoming a dancer; and fell totally in love with the high desert country of the Southwest, and then never managed to stay there. However, Sullivan did firmly settle the writing question—yes, it turns out she is a writer, but not fixed upon any one category. She has published four essay collections, a novel, two chapbooks and one full-length book of poetry, and many short pieces in journals. Most recently, her essay collection The Rhythm Of It: Poetry’s Hidden Dance, indulges her instinct to regard contemporary free-verse poetry as being built upon natural proportional rhythm patterns exhibited in music and geography, and therefore quite ancient and disciplined—not particularly “free” at all. This book was a finalist for the Montaigne Medal from the Eric Hoffer Book Award. More about her books can be found on her website: www.anitasullivan.org. The poet-piano-tuner-etc. also maintains an occasional blog, “The Poet’s Petard,” which may be accessed here here. (Author Head Shot Augment: René Laanen.)