I have been busy with a new online jewelry business at magicbeadstore.com, featuring gemstone jewelry handmade by my artist sister-in-law, Kitty. Here is my brief commercial!

Now that the site is up and running, I have a little more time, and I know a lot more (not enough though) about social media with its many possibilities.

In the meantime, I have had five poems accepted. The first two, “Weather” and “Walking,” appear in the recent issue of The Atlanta Review.

Two more will appear in Alembic sometime soon, and the fifth, which is about my dear eight-year old friend, Eleanore (see her photo below), will be in the Broad River Review later this year. Also, of the many rejection notices, I received a few “redemptive” ones that had compliments or encouragement from the editors (see earlier blog post about redemptive rejections by clicking here.)

I am still thinking about the elegy as a poetic form. Prone to hero worship, I become enamored of writers who articulate things that I feel but have not been able to say. It is not unusual then that I am in love with Roland Barthes, who died in Paris in 1980, and who was gay, so I’m 0 for 2, no chance of reciprocity. But I am in love with the writing persona who engages me with thoughts that provoke and transcend my own. In my youth (college), I was beguiled by James Joyce. When my husband and I were dating, he was interested in Samuel Beckett, to whom Joyce dictated much of Finnegan’s Wake. We stayed up late at his house, sometimes all night, discussing the two of them, though my mother never believed that was what we were really doing. All three of them enchanted me: Joyce, Beckett, and my future husband.

I have been pondering why the ideas of Barthes are illuminated in my imagination, and the answer has something to do with photographs and the  elegy.

               Photo: Cultural Services of the French Embassy

Photography interests me, though mainly its psychoanalytic components. To be the one photographed provides interesting psychological dilemmas. As Barthes points out regarding the predicament of being photographed, we want the photo to align with our “profound” self, and yet, he says, the opposite is true (12).We feel ourselves being “observed by the lens,” and then “everything changes.” We go into the process of “posing,” and then derive a different identity based on the “caprices” of the resulting photograph (10-11). He writes:

In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, and the one he [the photographer] makes use of to exhibit his art. In other words, a strange action: I do not stop imitating myself, and because of this, each time I am (or let myself be) photographed, I invariably suffer from a sensation of inauthenticity . . . I then experience a micro-version of death (13-14).

Also, when we view photographs, we face new complications. While photographs offer a “presence,” they at the same time reveal an absence of the same presence. That sunlight no longer falls in just that way on the rose. The face of grandfather when he was young is not the face of the grandfather I knew, and grandfather is altogether gone, both the young one and the older one. The photo of St. Peter’s Square just after the rain reminds me that I am no longer there, and so on. When I view photographs of anything or anyone I have known, I feel an instant grief, even if it is in the background of what I consciously apprehend in the moment.

Of course, the opposite can also be true: the lost presence can be momentarily captured by the photograph, bringing joy, feelings of love, and fond remembrances.

I think most people viewing photos of loved ones try to put those feelings in the prominent interior place. Still, the sense of loss is inescapable, even in those moments, for the awareness of something being re-captured is evident. The photograph manipulates our sense of attachment to the person or place or object.

While photographs produce feelings of grief for me, the elegy brings a sense of relief and resolution. I sometimes feel that nearly all of my poems are elegaic in tone. Those that are deliberate elegies attempt to reconcile the more profound losses in distinct ways. The photographic image creates a wound, partially healed by the elegy. The attempt to capture an essence in words as well as the outcome of the attempt bring the desired resolution, though, of course, not a permanent end to the grieving process.

Poetry is an apt vehicle for thoughts and perspectives about death, and I wrote about this as a guest blogger at writersite.org, writer Luanne Castle’s blog site. You can find it by clicking here.

That post emphasizes the number of poems about death in a commonly used academic anthology of poetry. Perhaps poetry reconciles us to an inner world that we cannot locate easily without it, due to its nuanced expression, its dreamlike quality, its connection to deeper interior places. Poetry gives me the feeling of being at a core place of being and feeling.

For more than these reasons, I connect photographs with the elegy, both conceptually and experientially. If photos remind me of losses, elegies give me hope in their attempt to, as Max Cavitch mentions, “apprehend the ultimate, most unknowable condition . . .”  He goes on: “Elegy is a genre that enables fantasies about worlds we cannot yet reach . . .” (1).

Barthes, Roland. Camera Lucida: Reflections on Photography. Translated
by Richard Howard, Farrar, Straus, and Giroux, 1981.

Cavitch, Max. American Elegy: The Poetry of Mourning From the Puritans to         Whitman. University of Minnesota Press, 2007.

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