Culture
The Poetry Challenge Day 4: This poem is about staying up all night. Use it to greet the day.
Now that we’re back on dry land, headed home on the subway with empty pockets and heavy eyelids, a wave of contradictory feeling washes over us. We’re happy that it happened, but we’re sad that it’s ending.
(Just beginning for you? It’s not too late to join our Poetry Challenge. Start on Day 1, and continue at your own pace.)
Bliss and loss go together. This is an old idea in poetry. “Recuerdo” can be classified as an aubade — from “aube,” the French word for “dawn,” it rhymes with “Oh, God” and denotes a song whose singer ruefully greets the new day after a night of passion. The three stanzas track the arrival of morning. We see the first light:
And the whistles kept blowing, and the dawn came soon.
Claudia Rankine, poet
We marvel at the blazing sunrise:
And the sun rose dripping, a bucketful of gold.
Lauren Groff, novelist
And finally we face the prospect of a weary morning commute:
And we gave her all our money but our subway fares.
R. L. Stine, novelist
It’s a modern poem with ancient roots, going back at least to the troubadours of the Middle Ages.
The aubade flourishes wherever lovers try to cling to a few more moments together before the sweet sorrow of parting. Romeo and Juliet, at the end of Act III in Shakespeare’s play, recite an aubade for two voices as the sky pales and the lark sings at the end of what will be their only night together. Romeo says, as he prepares to depart:
More light and light, more dark and dark our woes!
Juliet tries to forestall the encroaching day by insisting that the lark is really a nightingale.
The stakes aren’t always life and death, but the rising sun often casts a shadow of sorrow on a romantic scene. The loss is part of what fuels the romance: We can’t smile because something happened without sighing because it’s over.
The 17th-century English poet John Donne — one of Millay’s favorites — was a master of the aubade. Poems like “The Good-Morrow,” “The Sun Rising” and “Break of Day” are full of ardor, disappointment and unabashed horniness:
Why should we rise because ’tis light?
Did we lie down because ’twas night?
He asks these questions in “Break of Day,” which happens to be made up of three six-line stanzas of couplets, just like “Recuerdo.” This is not a very common form in English; the best-known examples come from the Renaissance — from Donne, the Elizabethan sonneteer Sir Philip Sidney and the poet and composer Thomas Campion.
Millay, an assiduous reader and enthusiastic quoter of poetry, was surely familiar with their work. It’s no accident that the courtly, archaic phrase “good morrow” springs to the lips of her ferry riders as they greet the old woman at the end.
We hailed, “Good morrow, mother!” to a shawl–covered head,
Emma Straub, novelist
The Renaissance’s old love language — the naughty puns, the sighs of longing and strategies of seduction, the paeans to the beauty of beloveds masked by fanciful Greek and Latin names — had grown obsolete long before Millay’s time. But the urge to suspend complex feelings in the medium of poetry never gets old. Modern poets fill the old vessels with fresh insight, looking at the pains and pleasures of love from new angles.
In the poetry of Donne and his contemporaries, the speaker of the poem is almost always a man, with women as implicit audience and explicit objects of desire. Millay and her contemporaries, writing in the era of women’s suffrage and changing sexual mores, brought a jolt of realism to the language of romance. Millay’s sonnets reckon with the end of love not in a spirit of swooning regret but with brisk, sometimes cynical acceptance.
She was part of a cohort of American women poets whose work dispensed with both Victorian attitudes about love and post-Romantic lyric conventions. In that vein, Louise Bogan’s “Leave-Taking,” from 1922, is a modern aubade that is also a break-up poem. The lovers, “waking from the sleep of each other,” seem to agree that they would be better off apart. The inevitability of separation is what allows them to see love as “perfect.”
Poetry is not the only form to reckon with the passage of time in this way. Movies love a ticking clock, and every generation has its own cherished all-nighter. The baby boom remembers “American Graffiti”; millennials love “Superbad.” But the perfect cinematic aubade is the Gen-X touchstone “Before Sunrise,” in which Ethan Hawke and Julie Delpy meet on a train leaving Budapest and wander through Vienna until the sky goes wan. (To see Hawke’s reading of “Recuerdo,” click here).
The flip side of the aubade’s desire to stop time in its tracks is the urge to rush toward the future, to grab hold of time before it passes. The aubade finds its counterpart, its anticipated answer, in the carpe diem poem. That’s Latin for “seize the day” — YOLO, you might also say — and it’s the oldest pickup line in the book. In 17th-century English poetry, lustful swains (often shepherds, for some reason) are always beseeching their beloveds to “make much of time” and get busy.
Andrew Marvell, whose couplets we glanced at earlier this week, sums up the argument: Let’s be merry now; we’ll be too tired later.
Now let us sport us while we may,
And now, like amorous birds of prey,
Rather at once our time devour
Than languish in his slow-chapped power.
The charm of “Recuerdo” is that it chronicles both the seized day (or night) and the weary aftermath, rolling time up into a ball of happy memory. See how much of it you remember in today’s game. Carpe diem!
Today’s task: The final stanza
Question 1/3
Fill in the blanks of the final stanza. The first couplet should be easy!
We were very tired, we were very merry,
We had gone back and forth all night on the ferry.
Tap a word above to fill in the highlighted blank. Need help? Click “See Full Poem
& Readings” at the top of the page.
Edited by Gregory Cowles, Alicia DeSantis, Nick Donofrio and Joumana Khatib. Additional editing by
Emily Eakin, Tina Jordan, Laura Thompson and Emma Lumeij. Design and development by Umi Syam and
Eden Weingart. Additional design by Victoria Pandeirada. Video production by Caroline Kim.
Additional video production by McKinnon de Kuyper. Photo editing by Erica Ackerberg. Illustration
art direction by Tala Safie.
Illustrations by Hannah Robinson.
Audio of “Recuerdo” from “Edna St. Vincent Millay in Readings From Her Poems” (1941, RCA); accompanying
photograph from Associated Press.
Culture
Can You Match the Places These Authors Lived With Settings in Their Books?
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.
Culture
Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
Culture
Summer’s Best Beach Reads
Take me to visit a dysfunctional family with oceanfront real estate
by Meg Mitchell Moore
Moore is a dependable ingredient in any summer reading soufflé. Her airy novels accomplish what they came to do: entertain and transport, without the pyrotechnics of, say, books that eschew quotation marks. In “Down With the Shipmans,” three sisters, laden with baggage, converge on their late mother’s beach cottage, only to learn that their father and his much younger wife are planning to sell the place.
The stakes are high, the drama is juicy and the views are sublime. Moore even provides two beach dogs — Leo (an unruly pit bull mix) and Cinnamon (“golden retriever, red bandanna, long pink tongue”) — to keep things lively. (Comes out June 2)
-
Augusta, GA1 minute agoInvestigators: Augusta teen firefighter accused of fake fire inspections, illegal firearms
-
Washington, D.C7 minutes agoICE detained over 1,000 people in DC. Here’s one man’s story
-
Cleveland, OH13 minutes agoFBI Cleveland Focuses on Missing Northern Ohio Children During Outreach Event
-
Austin, TX19 minutes agoRepeated Theft Attempts Expose Weak Security at Austin Gun Store
-
Alabama25 minutes agoAlabama vs UCLA Live Stream: How to Watch College Softball
-
Alaska31 minutes agoLaboratory analysis cracks Alaska’s golden orb marine mystery – Futura-Sciences
-
Arizona37 minutes agoMark Lamb allegations: Arizona congressional candidate faces misconduct claims
-
Arkansas43 minutes agoWhy the Arkansas AD is fuming about the Razorbacks’ game against the Utes