Uncertainty is a word that pops up frequently in conversations. The pandemic, gun violence, international conflagrations, and the escalating number of climate disasters have increased our concerns about safety and heightened our awareness of our inability to prevent or control many current challenges. Global and societal changes that affect us personally are occurring at an accelerating pace, often without warning. No wonder we’re invaded by pervasive anxiety and feelings of vulnerability and isolation.

We know that stress reduction techniques like meditation, yoga, exercise, and walks in nature mediate the sympathetic nervous system’s stress response of fight, flight, or freeze. Another time-honored but much-overlooked modality that can restore a general sense of well-being is the reading and writing of poetry.

Poetry reconnects us with the beauty and goodness of the world, while also naming its difficulties. Rather than dismissing hardships, poetry calls them out and reminds us that others have also lost a loved one, experienced disappointments, endured sleeplessness, lived with depression—have suffered as we now suffer. Poetry allows us to identify our personal turbulences, breaks our feeling of isolation, and affirms our sense of belonging. Poetry steers us toward wisdom and acceptance.

Science agrees. The International Arts & Mind Lab at Johns Hopkins University offers convincing evidence from a number of studies that poetry is good for our health.[i] A 2021 study at a Rhode Island hospital found that hospitalized children who read or wrote poetry experienced decreased negative emotions such as fear, sadness, anger, worry, and fatigue.[ii] Another study from 2013 in the Philippines showed that guided poetry writing sessions significantly lessened depression in a group of traumatized and abused adolescents.[iii] Reading a poem that speaks to us, we realize we are not alone.

Consider “The Guest House” by Jalal al-Din Rumi, a thirteenth-century Sufi mystic and one of the most cherished poets today. Written over eight hundred years ago, the poem invites us to view all of life’s experiences and the feelings that arise from them as temporary visitors in the “guest house” of self. With patience and compassion, Rumi counsels us to recognize that even negative moods are precious teachers for our growth.

In The Body Keeps the Score, Bessel van der Kolk describes the effects of traumatic stress on mind and body. I suggest that the body keeps the score on pleasure, too. One of our earliest and most fundamental pleasures as humans is the sensory delight of language. The lullabies, rhymes, and nightly prayers of our youth linger in the recesses of our brains. Some of us wished upon stars. Wish I may, wish I might, make this wish come true tonight. Some of us played clapping games. Miss Mary Mack, Mack, Mack/all dressed in black, black, black. Some of us made up silly limericks. A flea and a fly in a flue/Were imprisoned so what could they do/Said the flea, let us fly/Said the fly, let us flee/So they flew through a flaw in the flue.

A 2019 study in Finland measured the surface brain activity of 21 newborn babies listening to regular speech, music, and nursery rhymes. Only the nursery rhymes produced a significant brain response when the rhymes were altered, suggesting that the infants’ brains were trying to predict what rhyme should have occurred.[iv]

Our innocent delight at nonsensical rhymes and metrical rhythms brings a smirk now, but as children those sounds provided sensorial pleasure to our tongues, lips, and ears. In a 1978 essay called “Goatfoot, Milktongue, Twinbird: Infantile Origins of Poetic Form,” the poet Donald Hall identified the origins of poetic form in the preverbal babbling of infants, in the mouth-pleasure of sounds and sucking, and muscle-pleasure of clapping, tapping, repetition.[v] (When faced with a cranky baby, try a round of peek-a-boo, repeating the word itself, or cradling the baby while swaying and singing a rhythmic tune.)

We have forgotten how intimately we are connected to poetic meter. Iambic pentameter, the ta-DUM ta-DUM ta-DUM of one unstressed and one stressed syllable in a five-beat line, mimics the percussive beat of our hearts. In his ground-breaking book, The Master and his Emissary: The Divided Brain and the Making of the Western World, Iain McGilchrist cites numerous instances of how across cultures people display a general appreciation for art, including poetry, which suggests that the brain has a non-socially constructed intuitive capacity to apprehend “beauty and the understanding of its expression through art.”[vi]

Are we somehow aware that there is something beyond its grasp? The great Swiss depth psychologist Carl Jung believed we have an inherent desire to connect with the deeper mysteries of existence, what he called “the religious attitude,” that creates a bridge between our inner world and the vast boundless outer one.

Especially during times of need, poetry acts as a bridge and invites us to participate in a greater understanding of our travails, and awakens our perceptions to beauty and joy, right here, right now. In “The Summer Day,” Mary Oliver calls out praise for the natural world and urges us to find our place in the natural order. Like Rumi, she asks the reader to recognize life’s preciousness and encourages us to consider how we might make the most of that precious gift. Mary Oliver once said, “I got saved by the beauty of the world.” This is the advice her poems offer us, to approach all experiences with gratitude and wonder.

Think of poetry as a portal to a timeless place where we find solace, companionship, enlightenment, enchantment, mystery, connection, wisdom, humor, healing. Poetry, especially contemporary poetry, names the disconnects as well, where we have gone blind to existential threats and personal sorrows that threaten to overwhelm us. With its adherence to precision of language, its concision of thought and meaning, its naming and interrogation of experience, poetry, in a small space, usually one page, packs a wallop.

To enter a poem is to escape the clamor of the ordinary world. Poems can be reminders of things we know but have forgotten. Painful experiences are reframed and given a new understanding by a poem. That’s because poetry reflects a rich brew of the sweetness and bitterness that is life. It refreshes our temporal minds and offers invented landscapes of imagery.

Rumi and Mary Oliver lived centuries apart and yet they speak to each over, and to us, across time. It’s a long way from Hickory Dickory Dock to T.S. Eliot’s The Wasteland, but a direct line exists between the formal poem and our wiring for pleasure in pattern, rhythm, and form. Poetry is not an escape from but an escape to: a place to land, a refuge.

For your own health and peace of mind, I encourage you to take up a friendship with poetry.

[i] Sima, Richard, “More Than Words: Why Poetry is Good for Our Health,” International Arts + Mind Lab (IAM Lab), Johns Hopkins Medicine, March 11, 2021

[ii] Chung, Erica et al., “Effects of a Poetry Intervention on Emotional Wellbeing in Hospitalized Pediatric Patients,” Hospital Pediatrics, American Academy of Pediatrics, March 1, 2021

[iii] Brillantes-Evangelista, Grace, “An evaluation of visual arts and poetry as therapeutic interventions with abused adolescents,” The Arts in Psychotherapy, February, 2013.

[iv] Suppanen, Emma, et al., “Rhythmic structure facilitates learning from auditory input in newborn infants,” Infant Behavior and Development, November, 2019.

[v] Hall, Donald, “Goatfoot, Milktongue, Twinbird: Infantile Origins of Poetic Form,” in Goatfoot Milktongue Twinbird: Interviews, Essays, and Notes on Poetry, 1970-76 (Poets On Poetry), University of Michigan Press, 1978.

[vi] McGilchrist, Iain, The Master and his Emissary: The Divided Brain and the Making of the Western World, Yale University Press, 2019.

Poetry resources: Poetry Foundation  Academy of American Poets   International Poetry

This post appeared in a slightly different form on Dale’s blog on Psychology Today. You can find all of Dale’s blog posts for Psychology Today at “Transcending the Past.”

If you enjoyed this post, you may also enjoy Dale’s recently published collection of poems, M, or these other blog posts about poetry: “Daughters Discovering Mothers: the Yearning for Identity,” “How I write; love and forgiveness,“ and “Recovering from Trauma: Finding the Words that Heal.”

Keep up with everything Dale is doing by subscribing to her newsletter.

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The first time I saw a hummingbird I was nine years old on a camp road in Maine. A tiny creature with an emerald head, ruby breast, and propeller wings whizzed in front of my face, hovered for a second, and then disappeared into the brilliant morning light. I was dumbfounded. Had I been visited by an angel? Or Tinker Bell? My body tingled. Everything around me sparkled with new meaning. The entire landscape vibrated with aliveness.

This event was brief but spectacular, and I have never forgotten it. The veil between the ordinary world and the extraordinary had been lifted, and I was given a glimpse of something mysterious, enchanting, and yet concretely real. The moment didn’t last. Earthly life quickly regained its familiar contours, and I returned “to my senses,” but some knowledge of the matrix of life and my place in the biosphere had been laid down in me.

This is what it feels like to be touched by wonder: amazement, astonishment, fascination. Without wonder the dark clouds of gloom, alienation, and loneliness sweep in.

For the past two months, this blog space has been dedicated to exploring anger with renowned Jungian analyst and scholar, Dr. Murray Stein. The pandemic, the devastating effects of climate change, the spread of violence on most continents have put us, to use the terms of another Jungian analyst James Hollis, into the “swamplands of the soul.” Might not this be the perfect time to resurrect the value of wonder as an antidote, or “complementary medicine,” to the heavier emotions of our time?

I’m not suggesting wonder as a breezy spiritual path that, to use a cultural cliché, keeps us “in the Light.” Think of wonder as a hard-wired instinct and the true birthright of our species. Wonder is worry’s more light-hearted twin. Science locates wonder in a complex network of interactions within the brain that set off dopamine reactions induced by pleasurable feelings and activity in the hippocampus, the storehouse of long-term memory. Curiosity — the impulse to discover new things — is wonder’s companion.

Children connect effortlessly with their sense of wonder, but as adults, we become bound to our habitual perceptions of reality. The scope of our curiosity and our ability to be astonished shrinks, but wonder enlarges our being and connects us with a vast cosmos of marvel and beauty. We are built to respond to marvel and beauty, to the animate nonhuman universe in which we are embedded.

As the poet Stanley Kunitz, an avid gardener into his nineties, remarks in The Wild Braid: A Poet Reflects on a Century in the Garden: “The universe is a continuous web. Touch it at any point and the whole web quivers.”

As we venture out into our communities after the pandemic, a resurgence of wonder encourages an exuberant feeling of expansion. Confinement’s opposite is freedom, and if we let ourselves pause and pay attention, we may notice on our daily walk the astonishing rainbow hues of a pigeon’s breast. How did that happen, we might wonder. Or we might consider the miracle of any creatures built for flight, from honeybee to bat. Or ponder the strength and determinations of a single dandelion pushing up between cracks in the walk. Why dandelion and not crabgrass? A dozen more questions arise.

Wonder asks us to slow down, to contemplate, to dream in reverie. It asks for our focus and attentiveness as well. It may unexpectedly inject itself into our lives, as the hummingbird whirled into mine, but if we aren’t paying attention, miracles will be missed. Wonder requires the cooperation of our inner world to meet the outer world with reverence and fascination.

In his book The Philosophy of Wonder, Dutch philosopher Cornelius Verhoeven stated:

“More happens in wonder than in doubt. Haste is a total lack of interest,” Verhoeven continues, “for interest means precisely to dwell in between. . . In contrast to pausing wonder, haste is a passing by which misses everything.”

“And now I have gathered six or seven deep red, half-opened cups of petals between my hands,” writes the poet Mary Oliver in her poem “Count the Roses.”

“And now I have put my face against them

and now I am moving my face back and forth, slowly…

Eternity is not later, or in any unfindable place.

Roses, roses, roses, roses.”

Oliver is a poet of praise, gratitude, and supreme wonder, in love with the particularity of the world. For her, an intimate reciprocity exists between her and her environment. Here she is writing in her essay “Upstream” about a tree in her beloved Blackwater Woods

“It lives in my imagination strongly that the black oak is pleased to be a black oak. I mean all of them, but in particular one tree that leads me into Blackwater, that is as shapely as a flower, that I have often hugged and put my lips to. Maybe it is a hundred years old. And who knows what it dreamed of in the first springs of its life, escaping the cottontail’s teeth and everything dangerous else. Who knows when supreme patience took hold, and the wind’s wandering among its leaves was enough of motion, of travel?”

If Mary Oliver has her gaze fixed on the minutia of rose petals or the golden eye of a gull, Brian Greene, theoretical physicist, mathematician, and chairman of the World Science Festival, understands that humans are “bags of particles” that are organized in a unique way, as he notes in Until the End of Time: Mind, Matter, and Our Search for Meaning in an Evolving Universe:

“When you recognize that we are the product of purposeless, mindless laws of physics playing themselves out on our particles — because we are, all, bags of particles — it changes the way you search for meaning and purpose: You recognize that looking out to the cosmos to find some answer that’s sort of floating out there in the void is just facing the wrong direction. At the end of the day, we have to manufacture our own meaning, our own purpose — we have to manufacture coherence . . . to make sense of existence. And when you manufacture purpose, that doesn’t make it artificial — that makes it so much more noble than accepting purpose that is thrust upon you from the outer world.”

Clouds, trees are also made of particles. In fact, all earthly matter is composed of the same particles that compose us. Greene’s amazement, wonder, and thrill flow from the recognition that the particles which make up human beings have evolved to have consciousness, to become a species — the only species that contemplates its own mortality and can produce a Beethoven and an Einstein.

If you are interested in welcoming more wonder into your days, consider these questions:

When was the first time you remember experiencing wonder?

Where were you? What happened?

What feelings do you associate with the event?

Can you reconstruct the feelings now?

Write the word WONDER at the top of a page.

Begin the first sentence with the words On that day.

Write for 10 minutes without stopping.

What have you discovered?

This post appeared in a slightly different form on Dale’s blog on Psychology Today. You can find all of Dale’s blog posts for Psychology Today at “Transcending the Past.”

 

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As Mother’s Day 2015 approaches, I feel called to write about a subject I’ve lived intimately, a subject I’ve explored in The Conditions of Love and is now shaping my new novel Digging To China—the conflict many women feel between their creative and domestic selves.

Mother. Writer. Are these dueling destinies? How much do the roles oppose? Do the separate roles fracture our identities? How permeable or dense is the membrane between them? Mother. Writer. Where can we find the energy, the juju, the concentration, the tremendous love, care, and devotion needed in equal measures in both domains? Do you know what I’m talking about? I think you do!

Here’s what I can tell you about my own experience: I struggled. And I still struggle with finding a balance between putting myself into my written work and into relationships.

I love these two poems for their recognition of the split between the “milk-giver” and “the moon-ridden girl.”

Night Feeding
Muriel Rukeyser

In Mind
Denise Levertov

Even before I took up writing professionally, I was jolted awake by the voices of certain poets, women poets who were shoving open the windows of their houses and shouting in wrath and fury, despair and righteousness, about their lives.

The essay that I read and reread dozens of times, that spoke to me so directly I was astonished anyone could know so much about my life was Adrienne Rich’s When We Dead Awaken: Writing As Re-Vision. Her words startled me into recognition of my own guilt, my own confusion and isolation.

She writes:

 …I was also determined to prove that as a woman poet I could also have what was then defined as a “full” woman’s life, I plunged in my early twenties into marriage and had three children before I was thirty…I went on trying to write: my second book and first child appeared in the same month…If there were doubts, if there were periods of null depression or active despairing, these could only mean that I was ungrateful, insatiable, perhaps a monster…about the time my third child was born, I felt that I had either to consider myself a failed woman and a failed poet, or to try to find some synthesis by which to understand what was happening to me.

To feel oneself a monster…to suffer this in silence…to be at odds with one’s deepest desires…and to be isolated in one’s suffering—do these conditions still exist for women writers who are raising families (and male writers who are the primary caregivers in their homes)?

The truth is, the very attributes that contribute to a rich, deep, profound, and thrilling creative life are antithetical to sustaining a stable home. Writing, at least as I know it, thrives on the chaotic and unpredictable shifts and flashes of the imagination; it demands devotion, loyalty, ruthlessness in the face of despair, enormous amounts of energy and attention—all of which might otherwise be directed toward one’s beloveds.

Rich says:

But to write poetry or fiction, or even to think well…a certain freedom of mind is needed—freedom to press on; to enter the currents of your thoughts like a glider pilot, knowing that your motion can be sustained, that the buoyancy of your attention will not suddenly be snatched away… To be maternally with small children all day in the old way, to be with a man in the old way of marriage, requires a holding-back, a putting-aside of that imaginative activity and demands instead a kind of conservatism…

Your attention suddenly snatched away. Split loyalties. The soccer game, the swim team, the poem, the essay: they all shouted at once, a confused and confusing cacophony that sent me hurrying in ten different directions.

But like Rich, I felt rise up in me an unquenchable desire to speak the truth about things unsaid and unspoken. I housed a hunger I hadn’t let myself feel until I heard the words of other women writers describing, most desperately, their hunger to have a voice. This is what we can do for each other: mirror, echo, witness, model.

Over time, I’ve come to adopt a different perspective, one that expands the view of what we are doing when we continue to embrace the warring imperatives of our souls—what the Jungians call holding the tension of the opposites. By creating a literal home we build a place to contain and house all our parts. This place/space holds our love, our security, grounds and shelters us against storms and unpredictable weather—I mean the turbulence inherent in a creative life. We need our homes just as our homes need us; we need a place where the offspring of our imaginations can grow and thrive.

Terry Tempest Williams writes with great eloquence about women’s voices and women’s silences in her poignant memoir, When Women Were Birds, an ode to her mother who died of cancer at 54. Her mother had bequeathed the author her journals—all of them blank inside. Williams writes:

She left me her “Cartographies of Silence.” I will never know her story. I will never know what she was trying to tell me by telling me nothing. But I can imagine.

After reading When Women Were Birds, it struck me that I did not know my own daughters’ experiences of what it was like growing up with a mother who also happened to be a writer. So I asked them each if they would write a few words for this blog.

Jennifer:

1. I recall falling asleep to the click, click, click….. zing… of the typewriter in the room next door.  There was something rhythmic and reassuring about it.
2. I grew up with poetry infused into everyday life in a way that most don’t.  It was not uncommon to have you recite a poem (not necessarily yours; often not) in what seemed like random moments.  Before meals… at gatherings…   And to this day, I think I’ve picked up this propensity.  I’m often quoting/reciting poems or openings to books… quotes… at random moments.  I reference you whenever I do this with new people.  I just say “I grew up in a house with a writer.”
3. Honestly… there were books everywhere in our house.  Before the bookshelves were built in the living room and sunroom, there were piles of books everywhere.
4. You have this incredible and unique capacity to offer exactly the right “text” to someone (including me) at precisely the right moment.  Did then, still do.
5. I have poetry books you gave me as a kid (kid versions) that I still have poems memorized from (e.g., “Who has seen the wind…” or “Jenny kissed me when we met…”)
6. You seemed to struggle then (and still do) with trying to find a balance between being in your writing space and in normal everyday space.  When we were growing up, your writing space seemed to be more around the margins of your life with us (after hours… when we were at school). Now it is pretty central. But I think there is still the tension of how to immerse and be present with your writing and not disappear forever.  Not that you’d want to. . . but it seems the structure of when to go in and then pull out was more defined by us and your wanting to be present with us.

Jessica: Growing up with a mom as a writer certainly set me aside from my friends. I was encouraged to learn the language of colors and moods, not of apple pie and golf. My friends did not make the acquaintance of Mary Oliver, Robert Frost, or the man at the mic bravely sharing his work at a poetry reading on campus. A world unheard of by my friends was at my fingertips. Beyond poems and prose was the way I was encouraged to view the world: ripe, aging, new, dying, tragic, humorous, raw… full of suffering and hidden miracles. I would not trade my upbringing, second daughter of an amazing writer, artist, and poet. I am lucky to have learned and lived (and still do!) the language and veil of creativity from the best, my mom.

My daughters have been kind. Hugely supportive, always. I was, at times, a “space cadet,” a distracted mom, cranky and preoccupied, sometimes gone for weeks at a time to write, but I’ve always been haunted by what Jung said: that our children live out our unlived lives. And so, isn’t it better to live our passions honestly and not drop the burden of unfulfilled desires onto our kids? We never do know when we are launched on creative projects that compel and enthrall us—raising children, writing a novel—how smooth or bumpy the road will be. But follow it we must. And if we are lucky, as I have been, our children will also reap the rewards.

 

 

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