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Merton and the Real Poets MERTON AND THE REAL POETS: Paradise Re-Bugged by Michael W. Higgins In a letter to his friend W. H. "Ping" Ferry, dated 14September1967, Merton observes, vis-a-vis the copy of the David Jones Agenda "Ping" has sent him: " As I told you, I did not know him at all. This has me felled. It is just what I have looked for so long: better than Bunting. With Jones, Bunting and Zukofsky we have the real poets and I wonder where they have been hidden." 1 Characteristically, Merton responds to his friend's generous gift with his usual mixture of intense interest, wonder, and hyberbole. How seriously do we take him? The beginning of Merton's interest in Louis Zukofsky appears to be dated 20 July 1966; and his interest in Basil Bunting is first recorded in the Restricted Journals shortly after that. Michael Mott notes: " Merton first mentions Basil Bunting: RJ, Oct. 16, 1966. The previous day he had found Bunting's work at the University of Louisville Library, 'very fine, tough, Northumbrian, Newcastle stuff of the Kingdom of Caedmon'."2 His interest in Jones was dependent only in part on Ferry, for he had in the person of A. M. Allchin not only a keen admirer of Jones's fully Catholic genius, but the individual who would introduce him to many fine Welsh poets, including the estimable Ronald Stuart Thomas. Merton writes to Allchin on 16 June 1967: " R. S. Thomas is for me a marvelous discovery. A poet like Muir, 1. Thomas Merion, Le11ers from Tom: A Selection of Le11 ers from Fa ther Thomas M erto n, M onk of Gethsemani, Lo W. H. Ferry, 1961-1968; ed . by W. H. Ferry (Scarsdale, New Yo rk: Fo rt Hill Press, 1984), p. 61. Hereafter referred to in the text as Ferry. 2. Michael Mott, The Seven Mounrains of Thomas Merton (Boston: Houghton Miffli n, 1984), p. 640. • This paper was delivered on 26 May 1989 in the session, " Merton and Poetry," at the First General Meeting of The lnLernational Thomas M erton Society in Louisville, Kentucky. 176 Michael W. Higgins Merton and the Real Poets 177 perhaps better than Muir, with such a powerful spirit and experience, so And the world needs another chance. In various of his critical essays well conveyed. I must try to write something on him: is there anything and pro ~e poems Merton sounded the alarm bell, the tuba mirum, about his life, or who he is?" 3 an~ouncing Death's ruthless hegemony. Only the poets can successfully And so we have it - new models, new voices. It would be futile, resist the blandishments, the allure, of Death's clever minions - technol­ however, to argue that the evolution of Merton's poetics was profoundly ogy, advertising, corporate and politica l power. The poets must obey life affected by his discovery of Jones and Thomas, but it is important to note and the Spirit of life that calls us 10 be poets .... In the Republic of Plato the points of convergence, the shared sensibility, the common vision. With there was already no place for poets and musicians, still less for dervishes and monks: As _for the t ~c hnological Platos who think they now run the Zukofsky there is a healthy interchange of ideas, and a correspondence that world "".e live in, they imagine they can tempt us with banalities and underlines a mutual aesthetics. Bunting, like Edwin Muir, reminds Merton abstra_ct1ons. But _we can elude them merely by stepping into the Herakli­ tean river which 1s never crossed twice. of the centrality of the particular, of the concrete, of the individual in the . When the poet pu~s his foot in that ever-moving river, poetry itself mass age. What he writes of Muir in his essay, " The True Legendary Sound: is b~rn out of the flashing water. In that unique instant, the truth is manifest t_o all who are able to receive it .... Come, dervishes: here is the The Poetry and Criticism of Edwin Muir," is as true of Bunting as it is of water of life. Dance in it.s himself: Thes~ pas_sa~es were addressed to a gathering of Latin American poets in The power of the poet's imaginative vision (in which of course the reader can participate) is that it directs our eye to beings in such a way as to "feel Mexico City in 1964, and they underscore the importance Merton attached the full weight and uniqueness of their lives." Here as a matter of fa~ ~he t~ Latin Ame~ican verse, in sharp contrast with the deadly, self-preoccu­ poet has a prerogative which the speculative and abstract m etaphy~1c1a n pied, and sterile emanating from the United States. In " Prologo," a might be tempted to deny him out of envy: the power to see being m the ~o et r y concrete and not by pure abstraction; to see it in its individual actualiza­ prose poem dedicated to Ludovico Silva, Merton sarcastically reminds us tion - and even to express it as its concreteness. Both the vision and the that " we must continue to taste the lamentable experience of those in expression of the individual evade technical and discursive ontology.' whom death has failed, 0 twenty poets, O ten poets O five poets o Their common dread of theorizing - of the powers of abstraction and Ludovico Silva and Ernesto Cardenal."6 ' ' generalizing-which prevents the imagination from seeing being both " in . The poet is the celebrant of life in the theater of death. The poet must the concrete" and in its " individual actualization" is a dread, an abhor­ disclose the holy at the heart of the mundane. rence, rooted in Blake, Merton's magister spiritus. In the Kingdom of Death the poet is condemned to sing that in the midst For the purpose of this article, however, I would like to concentrate of death he, th~ unsuccessful, remains in the midst of life. All the others mainly on Zukofsky and his cosmology, with some attention to the signifi­ a r ~ e~ balmed in the vast whispering perfumed cybernetic silence of the m1llenium of death. (CP, p. 743) cance of Jones and Thomas for the theme of unity and sapiential vision. Zukofsky's cosmology is paradisal, Franciscan, and Blakean. His poetry, as a And f?r M erton it is the Portuguese and Spanish-speaking poets of Latin consequence, is celebrative, vital, and wholistic. In his review-article on America to whom one turns to hea r the sounds of life, the promise of Eden; Zukofsky's All: The Collected Short Poems, 1956-1964 (first published in to these ~o~t s and a few others scattered throughout the Kingdom of The Critic under the title " Paradise Bugged" in February-March 1967, and Death, principal among whom is Louis Zukofsky. subsequently re-titled "Louis Zukofsky - The Paradise Ear"), Merton , ~,n ?, letter to Zukofsky ~ ated 11 March 1967, Merton speaks of the argues that " all really valid poetry ... is a kind of recovery of paradise," that poets A 7 as a Easter fugue, 1 with the kind of secularity that is in Bach," the paradise poet effects a renewal of vision through a new poetics, a new and goes on to speak of the resurrection reality that authentic art is all art, a new form. "Here the world gets another chance." about: "the victory over death." " This is the real witness to the world and 5 ThomasMerton "MessagetoP "' R ·d h 3. Thomas Merton, The Hidden Ground of Love: Lellers on Religious Experience and Social Concerns; pp.'160-161 . ' oets, '" ai sont eUnspeakab/e(NewYork: NewDirections, 1966), ed. by William H. Shannon (New Yo rk: Farrar, Straus & Gi roux, 1985), p. 28. 4. Thomas Merton, The Literary Essays of Thomas Merton; ed. by Brother Patrick Hart (New York: New :oems of Thomas Merton (New York : New Directions, Directions, 1981 ), p. 34. Hereafter referred to in the text as LE. 19~). ~~~_:~~~::;~fr~~ ·;:f~~~!J;: ii~~~~ f: !:~~lei 176 Michael W. Higgins Merton and the Real Poets 177 perhaps better than Muir, with such a powerful spirit and experience, so And the world needs another chance. In various of his critical essays well conveyed. I must try to write something on him: is there anything and pro ~e poems Merton sounded the alarm bell, the tuba mirum, about his life, or who he is?" 3 an~ouncing Death's ruthless hegemony. Only the poets can successfully And so we have it - new models, new voices. It would be futile, resist the blandishments, the allure, of Death's clever minions - technol­ however, to argue that the evolution of Merton's poetics was profoundly ogy, advertising, corporate and politica l power. The poets must obey life affected by his discovery of Jones and Thomas, but it is important to note and the Spirit of life that calls us 10 be poets .... In the Republic of Plato the points of convergence, the shared sensibility, the common vision. With there was already no place for poets and musicians, still less for dervishes and monks: As _for the t ~c hnological Platos who think they now run the Zukofsky there is a healthy interchange of ideas, and a correspondence that world "".e live in, they imagine they can tempt us with banalities and underlines a mutual aesthetics. Bunting, like Edwin Muir, reminds Merton abstra_ct1ons. But _we can elude them merely by stepping into the Herakli­ tean river which 1s never crossed twice. of the centrality of the particular, of the concrete, of the individual in the .
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