Gary Clark’s “Mary’s Prayer”: A Yogic Interpretation
Employing the Christian iconic mother figure, the song “Mary’s Prayer” offers a marvelous corroboration of concepts between Christianity, taught by Jesus the Christ and Yoga, taught by Bhagavan Krishna.
Introduction and Excerpt from “Mary’s Prayer”
The song “Mary’s Prayer” is from the album Meet Danny Wilson by the 1980s Scottish rock band Danny Wilson. Lead singer of the group and the writer of the song is Gary Clark. About the song, Gary Clark, the songwriter, has explained,
There is a lot of religious imagery in the song but that is really just a device to relate past, present, and future. It is basically just a simple love song. In fact I like to think of it as being like a country and western song.
A Yogic Interpretation
By quipping that his song “is basically just a simple love song,” Gary Clark is being overly modest; on the other hand, he could possibly have meant the tune to be a “simple love song,” but its use of imagery opens the possibility of a deeper interpretation than one traditionally associated with a “simple love song.” Thus, I offer my interpretation of Clark’s song, based on my primary method of poetry interpretation, which I label “Yogic Interpretation.”
This yogic interpretation of Gary Clark’s “Mary’s Prayer” reveals the spiritual nature of the song. The allusion to the Christian icon “Mary” alerts the reader to the significance of the song as it transcends the stature of a love song to a human lover, although it can certainly be interpreted to include that possibility. The chorus of the tune offers a lengthening chant, which uplifts the mind directing it toward the Divine Goal of spiritual union.
The narrator/singer of the song “Mary’s Prayer” is revealing his desire to return to his path to Soul-Awareness, which he has lost by a mistaken act that turned his attention to the worldly thoughts and activities that replaced his earlier attention to his spiritual realm.
The noun phrase, “Mary’s Prayer,” functions as a metaphor for Soul-Awareness, (God-Union, Self-Realization, Salvation are other terms for this consciousness). That metaphor is extended by the allusions, “heavenly,” “save me,” “blessed,” “Hail Marys,” and “light in my eyes.” All of these allusions possess religious connotations often associated with Christianity.
The great spiritual leader, Paramahansa Yogananda, has elucidated the comparisons between original Christianity as taught by Jesus Christ and original Yoga as taught by Bhagavan Krishna.
Danny Wilson – “Mary’s Prayer”
Mary’s Prayer
Verse 1
Everything is wonderful Being here is heavenly Every single day she says Everything is free
Verse 2
I used to be so careless As if I couldn’t care less Did I have to make mistakes When I was Mary’s prayer?
Verse 3
Suddenly the heavens roared Suddenly the rain came down Suddenly was washed away The Mary that I knew
Verse 4
So when you find somebody to keep Think of me and celebrate I made such a big mistake When I was Mary’s Prayer
Chorus
So if I say save me, save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Verse 5
Blessed is the one who shares Your power and your beauty, Mary Blessed is the millionaire Who shares your wedding day
Verse 6
So when you find somebody to keep Think of me and celebrate I made such a big mistake When I was Mary’s Prayer
Chorus
So if I say save me, save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Save me, save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Verse 7
If you want the fruit to fall You have to give the tree a shake But if you shake the tree too hard, The bough is gonna break
Verse 8
And if I can’t reach the top of the tree Mary you can blow me up there What I wouldn’t give to be When I was Mary’s prayer
Chorus
So if I say save me, me save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Save me, save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Save me, save me Be the light in my eyes
What I wouldn’t give to be When I was Mary’s prayer
What I wouldn’t give to be When I was Mary’s prayer
What I wouldn’t—save me—give to be When I was Mary’s prayer
Commentary on “Mary’s Prayer”
A yogic interpretation of Gary Clark’s “Mary’s Prayer” reveals the song’s spiritual nature. The allusion to the Christian icon “Mary” alerts the reader to the spiritual significance of the song causing it to transcend the stature of a love song to a human lover.
First Verse: Declaring a Spiritual Truth
Everything is wonderful Being here is heavenly Every single day, she says Everything is free
The narrator/singer begins by declaring a spiritual truth, “Everything is wonderful,” and that being alive to experience this wonderfulness is “heavenly.” The following lines report that each day provides a blank slate of freedom upon which each child of the Belovèd Creator may write his/her own life experiences.
“She” refers to Mary, who has authority to make such judgments, as the narrator states. The historical and biblical Mary, as the mother of one of the Blessèd Creator’s most important avatars, Jesus the Christ, holds special power to know the will of the Divine Creator and dispense wisdom to all children of that Creator.
Therefore, the prayer of Mary is dedicated to each child of the Heavenly Creator, and her only prayer can be for the highest good of the soul, and the highest good is that each offspring of the Belovèd Lord ultimately know him/herself as such.
Thus, Mary sends the faithful “every single day” and “everything is free.” Every creature, every human being, every creation of the Divine Creator’s is given for the nurturance, guidance, and progress of each soul made in the Creator’s image.
Second Verse: The Care and Feeding of the Soul
I used to be so careless As if I couldn’t care less Did I have to make mistakes? When I was Mary’s prayer
In the second verse, the narrator, having established his knowledge of the stature and desire of Mary, contrasts his own status. He was not been dedicated to his own salvation; he hardly paid any attention to the care and feeding of his soul. It’s as if he could not have “cared less” about the most important aspect of his being.
But that is the past, and the narrator now realizes that he made mistakes that have led him in the wrong direction, and he now wonders if he really had to make such a mess of his life. After all, he was “Mary’s prayer” — the Blessèd Mother had offered him the blessing of soul-union, but through his mistakes he had spurned that offering.
Third Verse: Losing Sight of the Blessèd Mother
Suddenly the heavens roared Suddenly the rain came down Suddenly was washed away The Mary that I knew So when you find somebody who gives Think of me and celebrate I made such a big mistake When I was Mary’s Prayer
The narrator then reveals that through some great and fearful event that caused the heavens to move and rain to pour down, his life had become devoid of the love and caring that had been bestowed on him by Mary. He no longer knew how to pray or how to feel the grace and guidance of the Blessèd Mother.
Fourth Verse: Missing a Great Opportunity
So when you find somebody to keep Think of me and celebrate I made such a big mistake When I was Mary’s Prayer
The singing narrator then offers his testimony that having a soul guide, who gives as the blessèd Mary gives, must be kept and celebrated and not merely cast off as the narrator had done. He confesses again that he “made such a big mistake” at a time that he could have just grasped the heavenly protection, while he was “Mary’s prayer.”
Chorus: Introduction of the Chant in Four Lines
So if I say save me save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Turning to prayer can be difficult for the one who has deliberately left it behind and perhaps forgotten its efficacy. But the narrator is once again taking up his prayers. He is now calling out to the Blessèd One, even though he frames his supplication in “if” clauses: he cries, “So if I say save me, save me / Be the light in my eyes.” He demands from the Divine Mother that she return to him as the light of his eyes, which had left him.
Furthermore, and again framing his supplication in an “if” clause, he cries, “And if I say ten Hail Marys,” but yet again demands that she “Leave a light on in heaven for me.” The “if” clause followed by a demand seems contradictory, but the narrator is in distress and is confounded by his failures and his former indifference. The chorus of this song functions as a chant as it grows from four lines to its final iteration of sixteen lines that complete the song.
Fifth Verse: Rich in Spirit
Blessed is the one who shares The power and your beauty, Mary Blessed is the millionaire Who shares your wedding day
Still in supplication to the Divine Blessèd Mother, the narrator now simply voices what he knows to be the influence of the Divine One: anyone who accepts and transforms his life according to “the power and the beauty” of Mary will find him “a millionaire.” Not necessarily financially rich—but much more important, rich in spirit. The great wedding of the little soul to the Oversoul will be the richest blessing of all.
Sixth Verse: Emphasizing the Need to Celebrate and Remember
So when you find somebody to give Think of me and celebrate I made such a big mistake When I was Mary’s Prayer
The sixth verse is a repetition of the fourth. It functions to reiterate the importance of the narrator’s awareness of the need to celebrate those giving beings as well as the vital necessity that he realizes what a “big mistake” he made “when [he] was Mary’s Prayer.”
Chorus: Continuing the Chant with Repetition
So if I say save me, save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Save me, save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for men
The chorus again becoming an enlarging presence serves to direct the mind Heaven-ward, while reminding the singer of his purpose for singing, for addressing his Divine Belovèd and keeping the mind steady.
Seventh Verse: Gathering the Effects of Yoga
If you want the fruit to fall You have to give the tree a shake But if you shake the tree too hard, The bough is gonna break
The penultimate verse offers a metaphor of gathering fruit from a tree which likens such gathering to the yoga practice that leads to Self-Realization or God-union. Shaking the tree gently will result in fruit falling, but shaking “the tree too hard” will break the bough. Yoga techniques must be practiced gently; straining in yoga practice is like shaking the tree too hard, which will result in failure to attain the yogic goals.
Eighth Verse: Upward Movement Through Faith
And if I can’t reach the top of the tree Mary you can blow me up there What I wouldn’t give to be When I was Mary’s prayer
The final verse also employs a tree metaphor. The narrator, who is once again firmly on his spiritual path, expresses an extremely important truth that each devotee must cultivate: faith that the target of his goal can lift the devotee at any time.
The narrator colorfully expresses this truth by stating, “And if I can’t reach the top of the tree / Mary you can blow me up there.” And finally, he expresses his regret for allowing Mary to escape him: he wants to become “Mary’s prayer” once again, and he would give anything to do so.
Chorus: The Efficacy of the Chant
So if I say save me, me save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Save me, save me Be the light in my eyes And if I say ten Hail Marys Leave a light on heaven for me
Save me, save me Be the light in my eyes What I wouldn’t give to be When I was Mary’s prayer
What I wouldn’t give to be When I was Mary’s prayer What I wouldn’t—save me—give to be When I was Mary’s prayer
The chorus doubled from its first iteration of four lines featured after the fourth verse to eight lines following verse six. Then it doubles again following the final verse, finishing with sixteen lines.
The marvelous effect of the chant places the song squarely within the yogic practice of employing repetition to steady and direct the mind to its goal of union with the Divine. The song finishes with the much enlarged chorus, which is not only musically pleasing, but also shares the efficacy of a chant that draws the mind closer to its spiritual, yogic goal.
Henry Wadsworth Longfellow’s” Christmas Bells” is a widely anthologized poem that celebrates the winter holiday. It features a phrase associated famously with the Christmas season in its chant, “Of peace on earth / Good-will to men.”
Introduction and Text of “Christmas Bells”
Henry Wadsworth Longfellow’s “Christmas Bells” is remarkable not only for its tribute to Christmas but also for its commentary regarding the American Civil War, which was in progress at the time the poet composed this poem on Christmas Day 1864. This poem was published in 1865, and by 1872, it was set to music, becoming a world famous Christmas carol, covered by many singers, including Frank Sinatra.
The poem plays out in seven cinquains, each with the riming scheme, AABBC. It repeats the phrase, “peace on earth, good-will to men,” which has become a widely chanted invocation for world peace.
Christmas Bells
I heard the bells on Christmas Day Their old, familiar carols play, And wild and sweet The words repeat Of peace on earth, good-will to men!
And thought how, as the day had come, The belfries of all Christendom Had rolled along The unbroken song Of peace on earth, good-will to men!
Till ringing, singing on its way, The world revolved from night to day, A voice, a chime, A chant sublime Of peace on earth, good-will to men!
Then from each black, accursed mouth The cannon thundered in the South, And with the sound The carols drowned Of peace on earth, good-will to men!
It was as if an earthquake rent The hearth-stones of a continent, And made forlorn The households born Of peace on earth, good-will to men!
And in despair I bowed my head; “There is no peace on earth,” I said; “For hate is strong, And mocks the song Of peace on earth, good-will to men!”
Then pealed the bells more loud and deep: “God is not dead, nor doth He sleep; The Wrong shall fail, The Right prevail, With peace on earth, good-will to men.”
Reading with musical accompaniment:
Commentary on “Christmas Bells”
Since its original publication in 1865, the concluding year of the American Civil War, Henry Wadsworth Longfellow’s” Christmas Bells” has enjoyed widespread distribution and attention.
The poem’s refrain, “Of peace on earth / Good-will to men,” has served as an appeal for a common goal, uplifting the minds and hearts of all people the world over. And while the poem’s association with the Christmas holiday is obvious, the sentiment for peace and world-wide goodwill remain regnant throughout the year.
First Cinquain: Ringing in Christmas
I heard the bells on Christmas Day Their old, familiar carols play, And wild and sweet The words repeat Of peace on earth, good-will to men!
The speaker reports that upon hearing the church bells pealing and the singing of carols in celebration of Christ’s birth, he is reminded of the purpose of Christmas celebration of peace and harmony among the world’s citizens. He avers that the words and sentiment are very well-known to him.
He also reports that those words hold a special place in his heart. The speaker’s tribute thus reveals the nature of the season that had become and still remain one of the most important celebrations of the year, especially in Western culture.
The line—”Of peace on earth, good-will to men!”—becomes the refrain in this poem that may also serve as a hymn. The refrain allows the poem to function as a chant. It has been invoked many times in many places for that purpose since its composition in 1863.
Those important words have also been employed to remind a warring world of the true goal human endeavor, that peace and harmony are ever more desirable than war and chaos.
Second Cinquain: A Reminder of Peace
And thought how, as the day had come, The belfries of all Christendom Had rolled along The unbroken song Of peace on earth, good-will to men!
Hearing the bells and the caroling also reminds the speaker of the “unbroken song” of Christ’s birth that is celebrated in all places where Christians and others of a spiritual nature acknowledge and love Jesus Christ.
Again, the speaker repeats that all important idea, “Of peace on earth, good-will to men!” The chanted line remains an important feature of this poem for its ability to alter even the speaker’s mood as he continues to describe his reaction to hearing the bells.
For the speaker, the continuation of the celebration of the birth of Jesus Christ as the savior of humankind has informed his remembrance, even as life has progressed and often descended into the chaos that all of humankind would prefer to avoid.
He is writing during the time of war, and thus he desires to achieve peace, but that desire may be contrasted with outward events that hem him round. As he writes his tribute, motivated by the words of sacredness from the carols, he is reminded of calmness and the nature of life as he would have it.
Third Cinquain: Heavenly Sounds
Till ringing, singing on its way, The world revolved from night to day, A voice, a chime, A chant sublime Of peace on earth, good-will to men!
The sounding of the bells and voices singing Christmas carols continues throughout the day as the day turns into night. The speaker describes the sounds he hears as voices and chimes. He finds those sounds to be heavenly; they remind him of all things sublime. And the chant he has fashioned again closes the cinquain.
The simple chanting of an uncomplicated but seemingly unattainable state of earthly tranquility provides the atmosphere in which a mind may rest, if only for a moment. The necessity of that rest becomes paramount during times of holy day recognition, and the celebration of the birth of Christ offers “Christendom” that opportunity for solemn meditation on the soul.
The speaker throughout his tribute remains intensely focused on the refrain that is chanted, and the peace and goodwill that he is asserting then become part of a prayer. As he asserts that the words of the carols remind him of sacredness, he yearns to bring about that very situation through concentration on the peace and harmony that such chanting is not only describing but also demanding.
Fourth Cinquain: A Moment of Bleak Melancholy
Then from each black, accursed mouth The cannon thundered in the South, And with the sound The carols drowned Of peace on earth, good-will to men!
While the speaker is enjoying of the beautiful peeling of the bells and the singing of carols, he enjoyment is suddenly interrupted by a loud, explosive reminder that war is raging.
Symbolizing the war, cannons are loudly reminding the speaker of the unfortunate events that are being played out, especially in the southern part of his country. Those likely metaphoric sounds have intruded into the speaker’s consciousness at a time when he is musing on beautiful qualities that should exist, specially at this time of year.
The loud cannons that “thunder” become a dark cloud, covering the beauty of the carols that proclaim earthly peace and the lovely fellow feeling that should exist among all citizens.
This interlude of remembrance of war contrasts greatly with the opening emphasis on beauty, tranquility, along with peace and goodwill. The stark image of a cannon’s “black, accursed mouth” startles the mind that has heretofore been soothed by the reminders of celebration of spirituality through peace and goodwill.
Fifth Cinquain: Peace Broken by War
It was as if an earthquake rent The hearth-stones of a continent, And made forlorn The households born Of peace on earth, good-will to men!
Continuing the contrasting stark interlude of war that has pushed its way into the speaker’s awareness, this stanza then likens the war to a different calamity. Thus the narrative moves from the cannons of war to the natural phenomenon of an earthquake that breaks up the very ground beneath the feet of the citizens.
The households seem to be suddenly stripped of the serenity that should be aglow with the peace and harmony for each family. This interlude of melancholy and pain, however, still contains the seeds of hope as the cinquain concludes again with the refrain for peace.
The speaker is aware that too many families have been affected by the war as husbands, wives, sons, daughters, brothers, and sisters have gone off to war to defend what they consider their homeland. This “earthquake” of war has caused a melancholy atmosphere to fall over the citizenry, but the speaker still continues to chant his prayer of yearning for peace and goodwill.
Sixth Cinquain: No Peace—Just Despair and Hatred
And in despair I bowed my head; “There is no peace on earth,” I said; “For hate is strong, And mocks the song Of peace on earth, good-will to men!”
Into the third stanza also comes the painful interlude of melancholy, which continues to serve as a reminder that this poem is being composed during a time of war. The speaker looks down, bowing his head, feeling desperate for better times.
He bemoans the fact that currently peace does not reign over the land. His country is engaged in a bloody battle for its soul; it is being pulled apart by differences that reflect strong hatred on both sides.
Political differences have spoiled the peace that should be spreading over the landscape and into the hearts and minds of the citizenry, instead of the suffering and chaos that war and hatred are bringing.
Because there is such strong hatred in the world, the song of peace is mocked by the brutality of war, which contrasts so violently with the notion of peace and harmony. Sadly then, the speaker is experiencing a moment of hopelessness that there is no truth in chanting about peace, love, and goodwill.
The contrast between his earlier feeling regarding peace and harmony reflected by his repeated refrain and this painful realization that peace is lacking must have been excruciating for the speaker as he passes through that dark moment brought on by the reality of war raging in his country.
That the speaker is forced to concede, “There is no peace on earth,” remains a painful reminder of the chaos that hatred brings into the lives all people. The very hope that peace can be achieved on earth becomes difficult to maintain in the midst of all the pain and suffering caused by the destruction of weapons and brute force against citizens.
Seventh Cinquain: The Return to Faith and Joy
Then pealed the bells more loud and deep: “God is not dead, nor doth He sleep; The Wrong shall fail, The Right prevail, With peace on earth, good-will to men.”
Just as suddenly as the melancholy had momentarily overtaken him, the speaker’s mind fortunately returns to its faith that all will be well. The bells’ tone now seems to become even deeper and louder, causing the speaker’s musings to be uplifted.
His heart and mind become filled with the notion that the wrong of the world will be defeated by the right, which will win. The speaker assures himself that God is in control, and that God never abandons His children. The sound of the bells continues to peal in the speaker’s consciousness as they deliver his mood from sadness to hope and faith again.
The speaker then is able to assert with strongest faith, “God is not dead.” He also asserts with assurance, “nor doth He sleep.” The speaker’s faith thus returns him to the knowledge that right will overcome wrong because God is still controlling all events.
The speaker can thus continue emphasizing the sentiment of his controlling refrain. He can again with renewed faith place that emphasis on that refrain that had brightened all the preceding stanzas of his discourse. He can chant again his invocation for peace and goodwill for all his earthly brethren.
Thus, because of the return of his faith in his deep heart’s core, he can proclaim the repeated truth that God still fills the world’s faithful “With peace on earth, good-will to men.”
The late Charles James Kirk, Charlie Kirk, is most noted as the founder of the organization Turning Point USA, created to assist young voters in understanding the values and policies that make life in America prosperous, safe, and spiritually satisfying.
The Growth of a Movement
Born Charles James Kirk on October 14, 1993, to Robert and Kathryn Kirk in Arlington Heights, Illinois, Charlie Kirk graduated from Wheeling High School in 2012; for one semester, he attended Harper College a community college in Palatine, Illinois [1]. As a junior in high school he applied to West Point and was rejected.
While still in high school at age 18, Kirk and a group of friends began laying the foundation for what later became Turning Point USA (TPUSA) [2]. His main reason for dropping out of college was to use his time and effort in growing Turning Point, whose purpose was the supply the education for young people that felt was lacking.
His semester at Harper College, as well as his observation of the lack of informed young voters, convinced him that in general college did more harm than good in passing on to the coming generation the accurate history and values of America [3].
Kirk’s grassroots organization grew rapidly into a national phenomenon, and by 2025, TPUSA had multiplied into chapters numbering in the thousands, including chapters in universities, high schools, and even online.
“Prove Me Wrong”
Shortly after launching Turning Point USA, Charlie Kirk started holding sessions he labeled “Prove Me Wrong” on college campuses [4]. He would invite those students in the crowd who opposed his views to come forward to the microphone to debate issues. These sessions became widely popular, with views on Youtube and TikTok numbering in the billions.
Some of the public universities across the United States, where Kirk spoke and held his “Prove Me Wrong” sessions include Arizona State University (2018), the University of California–Berkeley (2019), and Ohio State University (2019), and many others.
At each session, Kirk first delivered his statement on a hot-button political or cultural issue, including free speech, immigration, abortion, or taxation. He then invited those students in the crowd who disagreed with his positions to come forward, speak into a microphone, and “prove him wrong.”
The verbal duels were recorded and made publicly available through YouTube, TikTok, and other media platforms, becoming widely popular, numbering in the billions by the mid-2020s.
Kirk’s goal was to persuade these young voters; he employed a civil tone, never demeaning them or talking down to them as he relied on verifiable facts and logical analyses to support his claims.
Through he own experience, Kirk became aware that the college/university environment fosters Marxist ideology, which is antithetical to the American way life that values freedom, individuality, and actual diversity of thought.
His “Prove Me Wrong” debates offered a forum for respectful exchange of ideas, something the average college classroom has long abandoned in favor of indoctrinating students on what to think rather than how to think. These sessions always attracted large number of students, most of them Kirk supporters, but many of them detractors, to whom Kirk most directly spoke.
Kirk’s engagement with his opposition always remained civil, respectful, and he even expressed admiration for his challengers for their courage and for their attempts to engage and think critically.
Political analysts have credited Kirk’s “Prove Me Wrong” sessions as playing a key role in assisting in the increasing interest of young people in the political process. These sessions along with other activities of Turning Point, as well as, Kirk’s charismatic performance and personality have had a great uplifting influence on the whole of society both old and young.
Kirk held the conviction that persuasion with facts and logic was more influential than partisan oneupmanship. His engagement with students was often the first opportunity they had been given to think and express their views.
Political Stance
Charlie Kirk’s politics centered on three basic issues: free speech, limited government, and free markets. Thus he advocated for deregulation. Furthermore, he supported school-choice initiatives, pro-life/pro-family commitment, and a strong approach to national defense.
Along with Andrew Breitbart, he believed that politics was downstream form culture. Culturally, Kirk argued against the tenets of what has become known as “woke” orthodoxy.
Kirk’s ultimate strategic purpose was to help win elections, which he believed meant winning the hearts, minds, and habits of the younger generation. Thus he directed his message primarily to young people, especially those who are experiencing the aridity of the college camps.
He also emphasized life-affirming activities such as career choice, marriage and family life, and civic duty. The topics he chose to address could often be associated with his core values.
Religious Faith
Charlie Kirk’s Christian faith was the driving force both for his life and his political activism. He believed in the importance of the role of faith in any strategy for cultural renewal.
He personally maintained a daily routine that not only bolstered his faith but kept his mind centered in spirituality. Daily, he read from the Holy Bible, prayed, examined his inner motives [5]. He also maintained a “Sabbath practice,” which meant observing a day of quiet meditation without worldly engagements such as news reports.
Kirk was raised in a Christian family and as a adult became more intensely dedicated to his faith. He remained aware that his faith enhanced his ability to engage publicly and to lead his organization.
Charlie Kirk did not argue for a state sponsored religion. He well understood that the state is prohibited from establishing a religion in order that individuals could practice and worship their religion as they wished.
Kirk’s rhetoric often expressed political struggles in theological terms. Moral questions about family, gender, and identity were not merely policy items but spiritual battles: he believed that cultural trends were demonstrating spiritual decay and that spirituality need to be revived.
His ideas resonated with conservative Christians who believed that secular elites had diminished the influence of faith in public institutions. His ideas and unique voice made him a prominent presence in American politics.
While some critics have denigrated his stance with the label “Christian nationalist,” he described his purpose in civic, not religious terms. His knew that teaching religion by example not rhetoric was more important and effective for today’s youth [6].
Kirk’s religious faith also shaped his alliances and media platforms. He partnered with Christian media (e.g., Salem Media) and evangelical leaders who amplified his message. His faith remained the central focus for his personal identity and his political strategy.
Death and Legacy
The “Charlie Kirk Effect” is felt in his enduring influence as co-founder and CEO of Turning Point USA (TPUSA) and on mobilizing and educating young conservatives.
After his assassination on September 10, 2025, at Utah Valley University during the launch of his “American Comeback Tour,” the name and influence of Charlie Kirk spread far and wide, as it had never been before. This heinous act was immediately recognized as an event that elevated the once spiritual and political activist to the status of a martyr (7).
Although there is a presence of his organization on at least 3500 campuses, reports have claimed that requests for new chapters all over the world are numbering about 120,000, growing every day.
Charlie Kirk’s work focused on promoting fiscal responsibility, free markets, limited government, and faith-based values among high school and college students. By the time of his death at age 31, TPUSA’s annual revenue had grown to nearly $85 million in 2024, fueled by major donors and events like the 2025 Student Action Summit, which drew 5,000 attendees in Tampa, and the Young Women’s Leadership Summit, which hosted over 3,000 participants in Texas.
As mentioned earlier, Kirk’s approach emphasized grassroots activism, including the establishment of student chapters for leadership training and on-campus debates in his signature “Prove Me Wrong” style.
These efforts reached millions through social media—he attracted 2.8 million followers on X—and initiatives like the “You’re Being Brainwashed” tour, which visited 25 campuses in 2024 to boost Gen Z voter turnout for Donald Trump’s presidential campaign.
As a close Trump ally, Kirk attended the 2025 inauguration, played golf with the president days before, and served as a personal aide to Donald Trump, Jr. during the 2016 election. Kirk’s media presence extended to hosting The Charlie Kirk Show podcast and a weekday talk show on Trinity Broadcasting Network that began in February 2025.
Kirk’s educational vision went beyond activism. He launched Turning Point Academy in 2025 to counter “woke ideology” by creating Christian schools rooted in biblical principles, with the first brick-and-mortar site at Dream City Christian in Phoenix.
Through Turning Point Faith, Kirk partnered with evangelical leaders for tours framing elections as spiritual battles. These programs trained young leaders, with TPUSA alumni entering roles in conservative politics and media.
The assassination—a targeted shooting by 22-year-old Tyler Robinson from a rooftop 125 meters away—drew widespread condemnation as a “political assassination” from Utah Governor Spencer Cox and President Trump, who announced a posthumous Presidential Medal of Freedom for Kirk.
The event, attended by about 3,000 people, prompted campus closures and a manhunt that ended with Robinson’s arrest. In its aftermath, TPUSA reported over 32,000 inquiries for new campus chapters within 48 hours, followed by 18,000 more requests after widow Erika Kirk’s address, signaling a surge in engagement.
Erika Kirk was unanimously elected CEO and Chair of the Board on September 18, 2025, fulfilling Charlie’s expressed wishes and vowing to expand TPUSA tenfold. The tour continues, with the next stop at Colorado State University on September 18.
Arizona Senate President Warren Petersen also proposed renaming Loop 202 the “Charlie Kirk Memorial Loop 202” to honor his Arizona roots.
Charlie Kirk Effect
The “Charlie Kirk Effect” is present in this institutional momentum: a network of chapters, donor support, and media infrastructure that equips young conservatives with tools for civic and political involvement.
Kirk’s books, such as Time for a Turning Point (2016), and his emphasis on family (8), faith, and patriotism continue to inspire. Globally, TPUSA’s model has influenced groups in the UK and beyond.
Charlie Kirk’s legacy will be measured by the sustained growth of these efforts and the leaders they produce, ensuring his mission endures.
The following sampling of poems are from Mr. Sedam’s second published collection, The Man in Motion.
1 THE QUICK AND THE DEAD
As friends of the deceased we stood outside the plot and spoke of many things; I said that I was a teacher and it came out he was too, somewhere up North, he said, a good community — good school, no foreigners, Negroes, or Jews in fact, he said, no prejudice of any kind.
2 SAINT GEORGE
He says he has a problem and I say: Tell me about it because he’s going to tell me about it anyway so it seems he was making love with his wife last night or thought he was when right in the middle of it she stopped and remembered he hadn’t put out the trash for the trash man the next morning so he asks: What would you have done? and I say: Get up and put out the trash which of course he did but he still doesn’t know why and I reply: You must slay the dragon before there is peace in the land.
3 FACES
A funny thing happened in the war and you’ll never believe it but there was this Jap Zero at ten o’clock low so I rolled up in a bank and hauled back on the stick too fast and nearly lost control and when I rolled out again there was this other Jap (He must have been the wingman) flying formation with me.
We flew that way for hours (at least four seconds) having nothing else to do but stare each other down, and then as if by signal we both turned hard away and hauled ass out of there.
We flew that way for hours (at least four seconds) and when I looked again he was gone— but I can still see that oriental face right now somewhere In Tokyo standing in a bar there’s this guy who’s saying: a funny thing happened in the war and you’ll never believe it but there was this American. . .
4 EXPERIENCE
Then there was that night in Baton Rouge Jack and I went out on the town looking two looking for two And we saw these two broads at the bar and I said There’s two Jack but yours doesn’t look so good but he was game So we grabbed them and wined them and dined them with champagne and steak I remember forty-four bucks to be exact And when we walked out of that place I slipped my arm around the pretty one an whispered let’s go up And she said whadaya think you’re gonna do And I said not a goddam thing and left her flat And Jack took the dog-face one home And made a two-weeks stand of it and come to think of it I never chose a pretty girl after that.
5 NOSTALGIA
(For Lee Anne)
Call it the wish of the wind flowing from a dream of dawn through the never-to-be forgotten spring of our years running swiftly as a lifetime flying like a vision borne Slim Indian princess wedded in motion dark hair streaming sunlight and freedom floating on the cadence song drifting shadow-down in the distance my daughter riding bareback on a windy April afternoon.
6DESAFINADO
(For Allen Ginsberg, et al)
Through this state and on to Kansas more black than May’s tornadoes showering a debris of art — I saw you coming long before you came in paths of twisted fear and hate and dread, uprooted, despising all judgment which is not to say that the bourgeois should not be judged but by whom and by what, junkies, queers, and rot who sit on their haunches and howl that the race should be free for pot and horny honesty? which I would buy if a crisis were ever solved in grossness and minor resolve but for whom and for what?
I protest your protest its hairy irrelevancy, I, who am more anxious than you more plaintive than you more confused than you having more at stake an investment in humanity.
Some things were never explained even to me, and of course they would tell it his way but I believed in her because I chose to believe and you may be sure of this: A man’s biological role is small but a god’s can be no more that it was I who was always there to feed him, to clothe him to teach him, and nurture his growth— discount those foolish rumors that bred on holy seed for truly I say unto you: I was the father of Christ.
At least part of your message is clear, thou shalt not kill except in certain seasons and thou shalt not commit adultery except in certain regions and thou shalt not lie except on incredible things like carrying five tons of tablet stones down mountains.
9 INDIAN COUNTRY
Can it be enough to wake in the morning to find in a land above all others the generosity of spring a summer’s desire the sky like a psalm unfolding a season for lovers?
Stay, do not be afraid walking hand in hand with me through the gentle wilderness the glorious heart of it I know this country better than I know myself better let me share it with you this immortal scene— how can you close your eyes?
10 REGENERATION
Something in me and the abiding dust Loosed an imprisoned force And I became a man at the age of twelve Proclaiming myself above women I decided to be a trapper up North But tried the near creek first Caught a muskrat that turned me weak Cried boys tears then came back strong Finding maturity was thirteen Growing soft on animals and girls.
11 FOREVER CALVIN
Life had seldom been good to him and the cloth he had always denied but faced with the new theology he stood with his beer and replied: “People been sayn’ God is dead but I know that old sonofabitch is still alive.”
12 MYSTIQUE
My thoughts are on the ring of morning my insight beholding the sun— I will say she is not beautiful or shall I say, no more beautiful than the average of her age an average girl in plain blue sleeveless dress with soft brown sling-back shoes and matching purse but for the silver dragonfly . . . ah yes! the silver dragonfly as delicate as her slender hands her red-gold hair her high born face or the white lace of her brassiere, which brings my focus to the nearer things the rainbow from the window the warm wet sound of rain the clear clear air.
13 CASUALTIES
Admission of reality that time can bend a memory am I a victim of my own credulity or did I see the dark blood flow from such savagery . . . unbelievable that I was even there that I remember and forget so easily the brain is lensed like that protects the image sometimes dims forever unless a matching pattern focuses the scene joins two worlds the then and now . . . and then it was no ordinary war a time some unseen power had set the stage for me an unemployed pilot, I happened along a spectator of the invasion until the airplanes came— Admission . . . they brought the casualties in and laid them on the tables of the ship’s wardroom where only hours before we ate our peaceful fare no white-clad nurses here, no softer graces no operating room decor I would identify but my only experience is a football knee and nothing in the past could conjure this: a casual would brings no trail a shattered arm or leg they amputate of mangled flesh in disarray they sew a captain missing half his face the jawbone almost gone what primal instinct saved his life? they can’t decide he crawled back on his own . . . another with both hands taped down to his arms his wrists nearly severed he says his pistol jammed as he was struck a sword— a more immediate concern he also has a bullet in his chest, they probe the fevered flesh that forms the hole almost lose him Shock! a call for plasma the way that nature saves her own or takes in death if the blood is pooled too long the surgeon quietly explains— Admission . . . the other details I forget or something doesn’t want me to recall it is only the surgeon who comes through clear to me whose raw exposure captured me record the butchery whose eyes knew me as I stood fascinated by his sight— at three A.M. they bring the last one in his back a confusion of shrapnel and blood but almost perfect pattern of designs a gaping hole with radiating lines a mortar shell— his face like the grey dawn precipitates the storm he is barely conscious now moving through another world perhaps the only peace he’ll ever know— the stoic surgeon stares and then starts in deadens down with morphine with speed to equal skill and then in rare expression, he’s feeling with his hands searching for something like fish under a log he has a memory now pulls out a bloody jagged hunk smiles and drops it in the pan I’m holding and for the first time notices me and for the time I’ll do a pilot orderly? why not incredible but then how callous I’ve become beside, I can perform and I am remarkably calm he knows, sustains my balance talks of fishing all the while until the fragments are found later much later our two worlds match again he sews with a feminine stitch hands leading heart compassionate in his touch Surprisingly the human skin is very tough he says cuts easily, punches and tears hard the consistency of leather remembering how my mother sewed my shoe way back there he tugs and pulls, but carefully the sergeant groans from pain I ask? no, reflex action he explains the pain comes later much later more thread! will he ever get their wounds sewed up? how neat the stitches come a patchwork quilt, a Frankenstein design and finally done his genius shows, he’s made another man but what about his kind and if he lives how does he survive? what cursed the learned doctor after time and after twenty-five years what monster roams to haunt the tortured mind? Admission . . . it is unbelievable the punishment the human body can absorb or what the mind can hold at least for awhile until the patterns match the greatest pain comes later . . . much later.
14 SELF ANALYSIS
Often I have wondered from where I came something of motion wind and cloud and wing high unity the sky was my medicine dream an identity, I suspect . . . I never was born at all I fell from another world was found by a savage tribe ran through my Indian youth followed rivers and leas talked with birds climbed ancient trees then beholding all things I found creativity— all my years of learning have taught me only what I knew as a child.
15 INCONGRUITY
Theirs is a house, a show place of antiseptic rooms marked: His and Hers with climb marks on his walls and halls that lead to nowhere (they wouldn’t dare) and yet they have three daughters which their friends assure me came naturally.
16 APRIL
Then from the winter grief and the tree’s last clinging the dead leaf falls to be born in time’s intricate weaving from the sentient sleep it awakes to behold life believing . . . and you thought the spring would never come— Arise My Love, arise for love has performed a miracle.
17 HIGH SIERRA
And try as I would today I could not walk that objective distance away to write a universal poem that symbolized all metaphors of love profoundly beautiful sensitive to wordways, more sensitive to height the clearest view the path ran always toward the sunlight always to you, in lines as free as taking you into my arms feeling the flow of your warmth creation smiling upon me.
18 JURISPRUDENCE
Yes, yes, I know the tree belongs to you but your mistake was planting to close to the line— possession being nine-tenths of the law your branches leaning heavily my way, I have picked the apple on this side and I intend to eat every damned on of them.
19 MIRRORS
And now my daughter what shall I say to you when only yesterday I learned to know myself I cannot tell just where I end where you begin or when it was I loved and lost and won the perfect picture of my ego —
I know the cruelty that reprimands your nature you feel too much you love too much you give too much and I would make you man, like me hardened and warm vulnerable and sound hidden between poems doubting . . . believing . . . no, it is not so I would not rule you and corrupt your beauty, you declare in the desperate desire an intimate loneliness a weakness yet laden with power a possible greatness — then what shall I say to you? you have written me a poem, really, it is almost good . . . really, too much like me.
20 ORIGINAL SIN
“And as life must always contemplate death.”
Now and again in a crowd I’ll see that look in someone’s eye that searing stare of endless pain a desperate longing for the sky . . .
a tremor in the sun, a hurried cry — “This is Blue Four bailing out!”
the convoluting sight, a silver streak the searing flash, a rolling red-orange flame but someone calls: “He’s clear! He’s clear!”
we see him floating free, momentarily safe billowing white against the perfect blue like an angel removed from evil—
God’s merciful arrangement? the decision was never his he is falling into the enemy’s hands and the guilt of war goes with him —
he gathers in his chute, hopelessly alone we circle one more time but none of us can save him, standing on the crest of his years he waves his last goodbye — Paul Williams . . . the loneliest man I ever saw.
21 CREATION
I will allow to my plan one dream of man’s own choosing that he may break his earthly bonds and exist beyond reason and Adam and Eve looked upon each other and behold, they were overjoyed!
22 DOWN TWO AND VULNERABLE
Whose knees these are I think I know her husband’s in the kitchen though he will not see me glancing here to watch her eyes light up and glow;
My partner thinks it’s rather queer to hear me bidding loud and clear between the drinks before the take the coldest bridge night of the year;
She give her head a little shake to ask if there is some mistake five no-trump bid, their diamonds deep and one finesse I cannot make;
Those knees are lovely warm and sleek but I have promises to keep and cards to play before I sleep and cards to play before I sleep.
23 UNTOUCHABLES
If you will ride with me in the warm and velvet rain and stay discreetly on your side I will write for you the most beautiful love poem of your life.
24 THE DEATH OF GOD
Look at me Father beneath the grime and blood a soft-faced boy fading in your sight, severed from the power to make the sign one arm dangles, the other grasps my side; Listen to me Father and hear the red flood rain the morning with low moaning black whispers marching in armies of shadows exposing, exploding the expedient lie, the cold thought crawls pain-studded, shouting cutting the sacred threads from all tomorrows;
Time and the sun are staring sending gods and heroes to their places; while yet I live and slowly shed my robe I witness your death as you witness mine.
25 LETTER
Before all colors fade before you are gone I’ll hold to this memory of you, I see you in that gown like wine two shades of purple pink and purple red of passion drawn, deep down I wandered weak from want of you then knew your warmth and drank my fill and filled the caverns of my mind and sewed the hills with vineyards fine that I each year might touch the spring again — when you are gone, and surely you are I know it now for the words are beginning to come.
26 FORGOTTEN SPRING
And I awake in the veil of morning from shadow dreams unfound unknown there is no sight or sound but the rain in the willows and I have forgotten when it was that came in May with the scent of spring and a trace of the forest bloom — I arise and go to the window and search in the darkness to feel the lifeblood touching the night with my hands recalling the smallest things transformed in rain the linden flowers the redbud lane and I return and I am young in my shadows reflecting a sequined day of warmer years when children walked the emerald springs remembering nothing but dreams nothing but sleep sleep Sleep that come a thousand miles beyond a distant sorrow the forest road and garden flowers dissembled torment settled the terror of unearthly storms from sounding dreams of heartbeats falling falling asleep asleep and I awake to know not to know what lonely river fills the tortured mind a soul’s denial why nether light unveils a ghost of time condemns tomorrow somewhere the dead is watching exists is calling something I have lost has troubled me awakens me calls me to sleep sleep the broken frames of memory close asleep open and I awake to the black veil of mourning painfully conscious of that final hour and one forgotten scene the wringing hands the labored breath a tension crowded room the moral madness of his sight the faded flowers the dreaded tomb, but I am old, have shed my tears — sleep! give me sleep! I want no memory of that time and avalanche of lifeblood fallen drowning in a sea of slime the shadow man more child than man was dying . . . dead and life removed is dead calls to me to silence and sleep sleep sleep that goes a thousand miles beyond perpetual dawn the spring was morning the sun had healing powers I stood at the window beside my mother and Albert walked along the garden flowers and called: come, Marcene, let’s go mushroom hunting.
27 EDELWEISS
Then I will tell you about beauty it is the miracle revealed on a winter day that in a careful moment flowers a barren land and leaves tomorrow wherein we walk from snowy graves reborn seven times over, touch me then for that is beauty the only kind I understand what matters now is that I remember for the longest possible time the longest day when beauty is covered with sorrow . . . this too shall pass away.
28 SUMMER PLACE
Still my awareness can say what happened there — there was such a time and such a woman there was a river flowing a blood so dramatically clear there was a windwalk flowering through the trees an endless stream of light that marked the year — how do I measure your loveliness? I see you again like willow wand summer sun shining and free and unashamed love and the slowly spreading leaves care and the greatest gift we claimed — calmer then we knew our way we gathered life around us like a golden cloak and wore it every day.
29 LONELINESS
On that October afternoon under the maple bordered streets the canopy of memory closed every Godly sound when Billy Lambert died — the rainfall felled and crushed red leaves bled through bitter wine and I drank paralyzed like any man too stunned to reason why too brave to cry, they said, they took my silent grief what sixty pounds could give as proof like theirs, standing for strength — they did not know that I was eleven without faith.
30 FARFALLA
It seems inevitable now that I should find you again at mid-summer, when I came down from the spring I walked along in the rain thinking of you your form and being as warm and secure as nature’s cocoon knowing that someday soon you would arrive with the sun beautiful and alive.
31 ALCHEMIST
From the imagery of the past with the metaphorical present the match is made sometimes obvious but more often than not a sixth sense tells us it is there and apparently without reason we know because we have tried — a poem is not tricked not willed into being, with or without us it comes with a mind of it own a substance of rhythm and tone base metal some unknown alchemy has turned to gold.
32 FOR REASONS UNKNOWN
“The Board after review of the crash that took the lives of fifty-eight people, has ruled, the probable cause: a loss of control, for reasons unknown.”
To one who must review the will of impossible gods this crash leaves in its wake man’s torn identity For Reasons Unknown; the probable cause, an altimeter’s difference, an obvious loss of control but who can comfort oneself on finding death at this expense; here in the residue of grief, a coat, a toy, a case the charred remains of lives the lived before the shrouds, once with a burning intensity, a chemistry sublime now an horrendous blending shattered by time For Reasons Unknown; only a few hours before when there was hope we were intrigued by their heights, sensation of pride and power in that moment of brilliance, a soul’s magnificence then a wall and a new dimension of mind; again we have met in this place, the corridor of death where we are no longer strangers to the hard intelligence: that the dream is impenetrable for them and for us and for them it is all or nothing, and if it is nothing . . . but then, how foolish is forever, For Reasons Unknown, cancel flight fifty-eight.
33 CONCEPTIONS
If I were a woman I would become great with child if only to test my creative power to bring a fertilized egg into being proof positive that my reproductive prowess exists but being a man I can still stare at sperm unbelieving that there is anything great with me having no conception of conception I’m disturbed when she asks me: “Aren’t you proud to be a father?” and I answer yes and no no for the biological act, yes after the fact I fulfilled my responsibilities and earned my right to that to be called Father? no, with no awareness of conception I knew only, still felt only the pleasure, so I would alter the master plan somewhat —
a woman should be wired for light and sound and at the time conception like an exciting pinball machine her body would glow and the lights would come on and bells would ring and out of her navel would pop a card which would say: Big Man with your wondrous sperm this time you the the jackpot! keep this card and in nine months you can collect.
34 PHD
I continued upward ignoring signs of the northern sky until I crossed the subtle circle and arrived at the pole; I sat in frozen silence reflecting an impotent sun and when I left that place my direction was necessarily south.
35 DIVINE RIGHT
“And God saw every thing that he had made and behold, it was very good.” Genesis 1:31
All of God’s creatures have purpose they say, including me and even I may prove it yet and even a mosquito proved it once, Texas breed, Matagorda brand he sat upon my hand and sucked my blood, innocently without checking my rank and mismatched as we were he filled too full to fly and fluttered fitfully flopping like a frog, so heavily wing-loaded I smashed him flat than sat back on my throne and praised my bloody competence.
36 PATHFINDER
Two roads diverged in the yellow woods And I knowing I could not travel both impetuously cried: To Hell with decisions! And struck off through the woods.
37 BEAUTY AND THE BEAST
“I thought you were strong for Jenny?” “Well you know how she is— Wears three coats of makeup, Flat chested, legs too short, And without contacts—ugh!”
Which reminded me of the time He introduced me to Jenny— Lavender eyes, satin skin And bosom and legs enough . . .
“Oh yes and another thing You wouldn’t have guessed: We broke up last week.”
38 DISCOVERY
Between the first and the last there is a part of us that lives outside ourselves where we can see held in life’s rhythm our first encounter with immortality, no joy specific could cry that pleasure proclaiming what we are but if we could tell this tale where no one cared to know we would live it again that intimate discovery like Adam and Eve we were the first two people.
39 POEM TO MY FATHER
On His Seventy-fifth Birthday
For as a man stands for love— and now after the gift of our friendship when I am alone to see myself for what I am, how slow was my awakening, and it seemed too many years you had passed us by but then as I became mature and unafraid they made the bond enduring when we discovered we walked the same valley of age and wisdom respectfully different, feeling the same imprints hearing the same footfalls following the same river to the ultimate sea— foreseeing that day of silence I need no tears to purify the past: this was the gift of the gods For as a man stands for love there will remain his legacy an everlasting moment the memory of the nobility of man.
40 YOKOHOMMA MISSION
(After Twenty-fiveYears)
What the years have taken away what I forget to remember and what lasts forever in dreams that burned the imprint on my mind . . .
Flying across that lonely shield of space the interwoven contrails streak the malevolent sun high and clear at twenty thousand feet down a flawless sweep of sky— We have formed to protect the second wave of bombers long-barreled B-29s with huge block letter markings on their tails three hundred in a massive glare but one that stands out over all the letter R Remember How they came the enemy in swarm like magnificent fireflies in black and green with big red suns on their wings confused our aim skywalked our tracers missing four and hitting one he spins away angrier in death then life again the engines strain moving upward climbing to regain ah precious altitude the run is perfectly aligned—
We have broken off momentarily giving way to the black flak highway blanketing the run the first unfolded far behind the second overled the third more accurate scores a bomber falls away, hesitates then dies rolls over slowly explodes the sky churns with debris another in its death throes yet another, and another vectored down the line moving moving onward Here they cone again! scattered, less reckless now they’ll never understand another pass would run our fuel tanks low one almost playfully tags along we clobber him impatiently move on always moving full throttle maximum RPM abuse the trim damn the machine always straining always climbing The name of the game is survive and some are delivered and some luck out and some are determined to die but what is left of skill is gone . . . A Kamikaze! A mid-air! one of theirs and one of ours a final terrible embrace falling falling away unforgiven a cripple falling far behind another going down another R Remember the unbearable emptiness the invisible force of time of sailing, drifting, soaring always moving wind driven by some mysterious mind of wheeling, climbing, floating—
Then suddenly the departure point I turn for one last look at life transfixed in war’s psychotic stare the horrifying tower the hell we made for a million souls in flames that outlast fire the pinpoint accuracy of this day twenty-five years ago, a quarter of a century and Yokohomma is still burning.
41 DIALOGUE INTELLECTUAL
You call that poetry? That was my intention. Well it’s not good poetry. By whose contention? Mine! Which makes you a critic? Yes, now here’s a good line, Whose is it? Mine. Is it part of a poem? No, it’s only a line. You could never finish it? Yes, that’s true. Well add this pseudo intellectual schmaltzy phrase. What’s that? Up you!
42 UNDERSTANDINGS
I had heard these aunts before damn their fat Victorian souls who gathered in our house those poor depression days for grand reunions with gossip of the years and I the slender one too young too male to hear that day hid behind the door and combed their conversation for tidbits dear for boys too mean to bore and in the painful hour they took my subject sex and tore to bloody shreds all acts of manly fire of passion and desire all aunts but one who would become my favorite in the end she said: “The way I see it girls the way you should it don’t hurt me none and seems to do George a power of good.”
43 REFLECTIONS
What would I keep for beauty’s sake to cherish your presence in me not you but the essence of you even more than the intimate part of me you took with you— I smile at your face in the mirror looking at me my countenance radiant, taut-muscled confident and so sure that I am a man, with you I, too, am beautiful.
44 BLOOD ROOT
Then I becoming I considered then the flower from winter’s spring where I was I who found the trail of God’s creation who could hold beauty walking on touching every bloom of nature — it took me a long time to grow up from winter’s need where I was I like love it was a wind fragile flower and when I pick it it bled.
45 GORDON CHRISTOE
I remember his confident voice his high-flying banter the sound of his chattering guns that echoed his laughter then the Samurai came and shouted his name and Gordon disappeared in a black whisper.
46 DEATH OF A FIGHTER PILOT
Falling through legend and sky his vision a flaming mirror spinning away and away all promise of life lost in the lonely cry: I’m going in.
47 RELATIVITY
And so you are real but how long will you last? I have learned not to ask playing these god games to reconcile the past, yes, we’ll make too much of it our pleasure and crowded lament but why not the sands run low on dreadful wisdom.
48 VERTIGO
The sky was down the clouds had closed the chance a vast and inlaid sleep then magnified the trance, so set in power I saw the phantom dance that sent the brain dials spinning . . . abruptly the earth cut my remembering and I awoke in flames.
49 NIGHT TRAIN
Loneliness and a faraway whistle loneliness stirring the wind loneliness swelling the moonlight a storm swept song callling calling COMMmmee . . .
He’s hard out of Glenwood now trailing his midnight smoke a symphony on steel coming from someplace, somewhere from places of never before from fabulous lands and scenes dreamed in my book of days closer closer He’s rounding the curve downgrade on rambling thundering rods pulse like my heartbeat pounding pounding he whistles our crossing now his hot steam severs the air
COMMmmee . . . COMMmmee . . . A WAY e-e-e Straight through the town, throttle down deafening sound the summer night made aware screaming upgrade exhaust in staccato rhyme telling the world of his climb rolling on Arlington now high on his whirling wheels gaining the crest of the hill going to someplace, somewhere to fabulous lands and scenes pulse like my heart beat calling calling COMMmmee . . . COMMmmee . . . A WAY e-e-e
50 SCARLET TANAGER
I look at him as he looks at me in sly appraisal and I think he must be a discriminating bird to choose my woods for his mating show, but still I know that recently he came North from the land of the Chavante* and could it be that he sees in me only the image of another stage?
I knew that I must laugh before they carried me away and then I was carried away with laughter and now they have carried me away.
52 ZIP CODE
From that red restlessness understanding they would accept no compromise they left without a word between.
53 TIPPECANOE BATTLEFIELD
Walking through legend and tale I thought I saw Indians charging in feathered lines and calm Kentuckians gathering war-scalps— wandering too far I saw Harrison the magnificent riding his white stallion and . . . the thing I remember most about war was its bloody confusion.
54 MOON GLOW
So beautifully she could express desire — we had walked along the woods enamored of nature and ourselves; the moon grass an infinite sky the warm repletion a cry — come, she said, the children will be returning.
55 HARVEST
You will remember this time the love that holds this place born from a season of growing when we bled into each other from long histories and found all our futures foretold;
Now it is clear from our height this time is God’s artistic best, the sun revolves in a velvet line the winnowing need drawn from our childhood — Harvest . . . when the seek of the human heart knows assurance.
56 HOMECOMING
No one seemed to know him but he impressed us as he led the vocabulary parade; obviously he was a college man suave in dress submerged in manners and we could se his class ring when he picked his big nose.
57 PERCEPTIVO
If you’ll remember that day we barely met and yet I know all about you, I listened to your poetry but long before that — there is something in every woman that inevitably gives her away and you, my dear, were wearing exquisite pink shoes.
58 HAPPINESS
The storm cometh, the moment grows pale —
nothing in my memory ever dies, I remember our search for the sun that great straining upward formation flying like exotic birds spreading our wings on the day, and then a sudden flame — a terrible calm . . . happiness like a solitary leaf breaks off and falls away.
59 MARTY
(Who came without an appointment)
Softly she came with a folder under her arm, clutched tightly a countenance between a smile and a frown, she could go quickly either way, and then she spoke her mind in metaphor and rhythm, disgressed* in imagery that give her mood away and finally she told me she wrote poetry which I had already discovered before ever reading a word.
*”Disgressed” is an obvious typographical error. I suggest that the best reading of this line would be “dressed in imagery.”
60 ADAM
For over a week you have appeared in my sleep and I find myself seeking you endlessly — should I deny what I am, alone and awake a shadowless man tomorrow his glory gone like a season? and when you close upon my flesh then leave me naked and afraid should I deny what you are the storm of your coming and from its center the heart of emptiness the blood that cannot touch or give until it commands existence? I feel at this moment of birth the death of all things but let God speak honestly the power was given me to weigh with immortality and rather than let this moment pass away I will awake and create a poem which is woman which is life.
61 NOVEMBER
And you my friend tell me what you will there are some things you will never hold not even their innocent birth or trembling growth or color of life or last breathing;
In the bright façade of June you have said: Time has no end the sun to command has stood still and day and night are one immortal light like this summer I think I know why I hesitate as though I had never known the beauty of which you speak almost as if your voice could alter distance conjure love or call creation’s fire which I cannot believe
When years have hollow eyes I marvel I even remember the flight the scene of desire removed you think I dream what I write but think what you will — I have seen what winter can do.
62 GROUND FOG
Her night’s commitment soft and sultry, I touched the quintessence distilled five times fondled the moon disguised five times filtered the sky diffused five times and caught her mood . . . all this while sitting on my hands.
63 SILENT TREATMENT
I would not speak as a matter of fact I was determined not to give in this time because I was By God Right! and I was, I did not speak though I did smile as I carried her up the stairs.
64 INTERSTATE 75
Believing and I would believe against all possible odds against the inroads of roads against the factory walls against all concrete and steel that nature will always be real when I can write poetry at seventy, driving south and trail two lovers through the slow warm passage of time.
65 V J DAY
Appropriately we were airborne during the lull flying in our time testing out and staying sharp just in case when suddenly and literally out of the blue it came the pronouncement: “Iwo Tower to all planes — it’s all over boys — the War’s over!” a stunned long static unbelief before someone broke the spell — “Yahooo! Yahooo!” then everyone turned on how many times we yelled I can’t recall we firewalled all controls and rocked the sky in rollicking release but then the voice of God himself cut in the Squadron Commander: “All right you guys let’s knock it off — Remedy Red leader to all flights join up with me over the island and fly the tightest formation of your life.” we closed in fast and stacked down on his wing locked inside, reset the trim and leveled for the show — he waved how beautiful that square and hawk-nosed face bright like the Leo sun in terrible relief the pain and anxiety gone, drawn dangerously close to sentimental words — I settled back in throttles and controls chose my new horizon aware of every feeling and desire becoming strangely awed by the sight of my hand the flesh and blood that was in me the hope of tomorrow alive at last believing that a miracle had really happened the War was over, that I was human again.
66 THEN SUDDENLY
Then suddenly as if I had always known I loved you as naturally as breathing.
67 AND I
And I lifted against the burning heart of a woman’s heart and I drunk with your beauty.
68 AND LOVE IS
And love is that joy of giving of finding oneself profoundly acceptable in the sight of another.
69 REPRIEVE
On a day that I had chosen to die I was stopped by a child standing in the doorway.
70 ETERNITY
Flying the terraced night among the stars death-mirrored — is it possible I see the hereafter?
71 MEMORIAL — TEN DAYS AFTER
Silence to silence these faded geraniums tell me that happy people have no history.
71 ID 111
Life: Meets hourly, daily A non-credit course.
72 PERFECTION
Listening to a baby’s laughter — perfection . . . a short poem.
73 DISTILLATION REPORT
God: the neutral spirit with which man blends impossible proofs.
74 WEATHER REPORT
Marriage: that marrow exposure a temperature inversion as we grow older.
Publication Status of The Man in Motion
As with Between Wars, securing copies of Mr. Sedam’s The Man in Motion requires some research. Currently, no copies are available on Amazon, but by checking back from time to time, one might become available.
God is one Being, but God has many aspects; thus God has many names. All religious scriptures point to God as the only Creator. As the ineffable Spirit, God remains only the essence of Bliss, but as Creation, He is able to function through various bodies and powers for differing motives.
The Many Names of God, the Ineffable
The term “ineffable” applies to anything that is indescribable, something that is so beyond human concepts that there are actually no words that can do it justice. The term God is such a concept. If humankind wanted to proscribe all terms hitherto naming God, it would do well to employ only the term the “Ineffable.”
Despite the fact that there are things, beings, even events that humanity finds ineffable, the confluence of the human mind and heart seeks to name and describe those entities anyway. But the naming and describing must always come with the caveat that anything said naming and describing are mere approximations.
For example, on the purely material, physical plane, the taste of an orange remains ineffable. One may say the orange tastes sweet, but so do apples, cookies, and ethylene glycol—none of which tastes like an orange. The only way to know the taste of an orange is to taste it—no description will ever reveal that actual taste.
The same situation exists facing the issue of knowing who or what God is. Humanity from time immemorial has described God, given God names and descriptions, but to know God is like to know the taste of an orange—it has to be experienced for oneself.
That is where the practice of religion enters: the purpose of religion is to assist the individual in discovering the method for knowing God. Because most human knowledge is acquired through the five senses, one would think that knowing God would also be acquired the same way.
But that does not work, because the senses can detect only phenomena on the physical, material level of being. The five senses cannot detect noumena which exists on a different plane of existence.
As the Absolute Spirit, God is an ineffable concept because the term God includes everything in creation and also everything that exists outside of creation. God is both creation and the originator of creation. This fact means that there is no way to understand such a being with the limited human mind.
Thus, the concept of God has come to be thought of in many manifestations or aspects, such as God as Father, God as Son, as God as Holy Spirit, which will be immediately recognized as the Trinity of Christianity, the religion of the West. And the “Holy Spirit” aspect is the only aspect of God within creation. Paramahansa Yogananda explains the nature of the trinity [1]:
When Spirit manifests creation, It becomes the Trinity: Father, Son, Holy Ghost, or Sat, Tat, Aum. The Father (Sat) is God as the Creator existing beyond creation (Cosmic Consciousness).
The Son (Tat) is God’s omnipresent intelligence existing in creation (Christ Consciousness or KutasthaChaitanya). The Holy Ghost (Aum) is the vibratory power of God that objectifies and becomes creation.
Many cycles of cosmic creation and dissolution have come and gone in Eternity. At the time of cosmic dissolution, the Trinity and all other relativities of creation resolve into the Absolute Spirit.
The principal religion of the East is Hinduism, which is often mistakenly thought to be a polytheistic religion. The term “polytheism” signifies a misleading concept. There could never be two or more ultimate creators [2]:
Spirit, being the only existing Substance, had naught but Itself with which to create.
Spirit and Its universal creation could not be essentially different, for two ever-existing Infinite Forces would consequently each be absolute, which is by definition an impossibility. An orderly creation requires the duality of Creator and created.
That mistake of assuming Hinduism to be polytheistic arises because in Hinduism, especially as interpreted through yogic philosophy, God is expressed through many aspects.
Some of those aspects include such terms as Father, Mother, Friend, Love, Light, Brahma, Vishnu, Shiva, Sat-Chit-Ananda, Kali, Prakriti, Sat-Tat-Aum, and many others. Dr. David Frawley’s explanation [3] includes the lowercase use of the term “god” which actually refers only to an aspect of the Supreme God, as the context will reveal:
Spirit, being the only existing Substance, had naught but Itself with which to create.
Spirit and Its universal creation could not be essentially different, for two ever-existing Infinite Forces would consequently each be absolute, which is by definition an impossibility. An orderly creation requires the duality of Creator and created.
If Hinduism is deemed a polytheistic religion because of the many names for aspects of the one God, then Christianity could also be considered a polytheistic religion because it also possesses a trinity. In addition to the trinity, the Judeo-Christian Bible also puts on display many other names for God such as Jehovah, Yahweh, Lawgiver, Creator, Judge, and Providence—all obvious aspects of the One Supreme Absolute or God.
The fact remains that both Hinduism and Christianity, along with Judaism and Islam, are monotheistic religions. The Christian Trinity portrays the three functions of God, and Hinduism offers the same functional trinity in Sat-Tat-Aum. Hinduism also includes other manifestations or aspects of God such as Krishna [4], who in many ways parallels Jesus the Christ and Kali [5], who parallels the Virgin Mary.
Scientific religionists and dedicated spiritual seekers have determined that there is only one God—and all religions profess this fact—but there are many aspects of that one God. And those aspects have been given specific labels for the purpose of discussion. One cannot discuss everything at once; thus, to aid in that the ability to discuss spirituality and religion, various aspects of the one God have been isolated and specified with different names.
Aspect Names Similar to Nicknames
A human being may have several nicknames. I am Linda Sue Grimes, born Linda Sue Richardson, but I am also Sissy, Grammy, Nubbies—those are three of my nicknames: I am Sissy to my sister; Grammy to my grandchildren; Nubbies to the husband.
There are not five of me just because I have five names. There is one of me, but I have various aspects to different people; thus, each of them thinks of me in terms of a specific aspect to which they have each given a specific name. It is a similar situation for naming God through His many aspects.
However, even more pressing because in theory, one could discuss the person “Linda Sue Grimes” without breaking the concept of her into various aspects because Linda Sue Grimes as a human being is not ineffable. A discussion of the ineffable God remains impossible without those names of aspects.
God Remains Ineffable
Still, God remains ineffable despite the various aspects assigned to the concept. The spiritually striving devotee on the path to God unity is not attempting to merely understand God, which would be a mental function.
The spiritual aspirant is working to unite with God, more specifically to contact his own soul which is the spark or expression of God. Contacting the soul means quieting both the physical body and the mind in order for the soul become ascendant in one’s consciousness.
Avatars such a Paramahansa Yogananda instruct devotees that they are not the body, not the mind, but the soul. In fact, the human being is a soul that possesses and body and mind, not the other way around. The soul has become a blurred concept as it is replaced with the ego, which strongly identifies with physical body and the mind.
It is only through the soul that the human being can contact God. The body cannot contact God because it is just bunch of chemicals; the mind cannot contact God because it gets its information through the unreliable senses.
The senses are in contact with the ever-changing maya delusion of the created cosmos. Thus, only the soul as a spark of God can contact God. The only way the soul can contact God is to quiet the body and mind. After the body and mind become quieted and capable of remaining perfectly still, the soul can manifest to the consciousness of the individual human being.
Why Did God Create the Cosmic Delusion?
Paramahansa Yogananda explains:
In order to give individuality and independence to Its thought images, Spirit had to employ a cosmic deception, a universal mental magic.
Spirit overspread and permeated Its creative desire with cosmic delusion, a grand magical measurer described in Hindu scriptures as maya (from the Sanskrit root ma, “to measure”).
Delusion divides, measures out, the Undefined Infinite into finite forms and forces. The working of cosmic delusion on these individualizations is called avidya, individual illusion or ignorance, which imparts a specious reality to their existence as separate from Spirit.
. . .
This Unmanifested Absolute cannot be described except that It was the Knower, the Knowing, and the Known existing as One.
In It the being, Its cosmic consciousness, and Its omnipotence, all were without differentiation: ever-existing, ever-conscious, ever newly joyous Spirit.
In this Ever-New Bliss, there was no space or time, no dual conception or law of relativity; everything that was, is, or is to be existed as One Undifferentiated Spirit.[6]
The question arises, however: why did God decide to manifest into various forms, if as one ineffable Spirit He is nothing but Bliss? The best answer to that question is what gurus (spiritual leaders) tell their chelas (spiritual aspirants): leave some questions to Eternity, meaning after you reach your goal of unity with God, all questions will be answered.
However, Paramahansa Yogananda has also answered that question by explaining that God created his lila or divine play simply in order to enjoy it. As unmanifested Spirit, God exists as bliss, but even though He is present in his Creation and likely enjoying it, He is also suffering it; thus arise various paths that lead god back to God, or the soul back to the Over-Soul.
Because that answer likely still heralds another “why?” One must return to the notion of leaving some answers to Eternity. One must take baby steps on the journey back to uniting with unmanifested Spirit. Just fitting the physical and mental bodies by yogic practice for the ability to accomplish that unity gives the devotee enough to think about and do.
Other Concepts and Labels for God
As names for God vary, so do personal concepts. For example, Jesus the Christ liked to think of God as the Father [7]; thus, many Western prayers begin with “Heavenly Father.”
The founder Self-Realization Fellowship (SRF), Paramahansa Yogananda—”The Father of Yoga in the West”—was fond of assigning the mother-aspect to God and referring to God as Divine Mother. Thus, the opening of each SRF gathering begins with the following invocation:
Heavenly Father, Mother, (often lengthened to “Divine Mother”), Friend, Belovèd God, followed by the names of each guru associated with Self-Realization Fellowship.
All of these named references designate aspects of the same Entity—the Absolute Spirit or God.
My Use of the Term “God”
Because the term God can be alienating, especially triggering atheists and agnostics, I often refer to God in my commentaries by one of His possibly less disagreeable aspects. Therefore, I employ such terms as Ultimate Reality, Originator, Creator, Divine Reality, Divine Belovèd, Blessèd Creator, or simply just the Divine.
Likely, even the term Divine can be too mystically oriented for some postmodern, belligerent anti-spiritual, anti-religionists. Nevertheless, I do not completely eschew using the label God, despite negative reactions to and ignorance about the term, because the term does remain accurate and perfectly descriptive.
I do, however, continue to strive to render the context in which I use the term God as accurate and understandable as possible so that it may soften the blow for postmodern minds, being accosted by that term.
Sources
[1] Editors. Glossary: Trinity. Self-Realization Fellowship Official Web Site. Accessed March 5, 2023.
[2] Editors. “Law of Maya.” Paramahansa Yogananda: The Royal Path of Yoga. Accessed March 5, 2023.
—from the Paramahansa Yogananda’s Lessons S-2 P-27-30 Copyright 1956
The loving Lord of the Universe has always visited ardent devotees. Sometimes before doing so He sends messengers to find out those devotees who are worthy of darshan (a vision or sight of the Lord). In India they tell a story about the time God sent Narada back to earth. In the West, Narada might be described as an archangel.
He was a glorious being, freed from birth and death, and ever close to the Lord. During a former incarnation on earth he had been a great devotee of God and so it seemed that he should be easily able to discover others who were pursuing the Lord with will and ardor.
Narada the archangel now came to earth incognito, garbed as an ascetic. In mountains and valleys and jungles all over India he sought out the hermits and renunciants whose thoughts were centered on God and who performed all actions only for Him.
While ambling through a dark woodland one day, he spied a hoary anchorite practicing different kinds of postures and undergoing penances under the cool shade of huge umbrella-like tamarind tree. As if he were merely a leisurely wanderer, Narada approached and greeted the ascetic, inquiring curiously, “Who are you, and what are you doing?”
“My name is Bhadraka,” the hermit replies. “I am an old anchorite. I have been practicing rigorous physical discipline for eighty years.”
He added disconsolately, “without achieving any marked results.” Narada then introduced himself: ” I am a special messenger sent by the Lord of the Universe to seek out His true devotees.”
Realizing that at last his opportunity had come, the anchorite pompously assured Narada of his worthiness to be honored by the Lord. “Esteemed Emissary,” he said, “surely your eyes are now beholding the greatest devotee of the Lord on this earth. Think of it, for eighty years, rain or shine I have practiced every imaginable technique of torturous mental and physical self-discipline to attain knowledge and to find merit in the Lord’s eyes.”
Narada was impressed, “Even though I am from those higher planes where greater accomplishments are possible, I am very much touched by your persistence,” he assured the old man.
Bhadraka had been brooding on his grievances while talking to Narada, and instead of being comforted by Narada’s words, he spoke angrily. “Well then, since you are so close to the Lord, please find out why He has kept away from me for so long. When next you meet Him, do ask why He has not responded to my disciplinary exercise. Will you promise me that?”
Narada agreed to the old man’s request, and then resumed his search for earnest devotees of God. In one place he paused to watch a most amusing incident taking place at the roadside.
A very handsome and determined young man was trying to build a fence. Unfortunately he was dead drunk, and his senses kept deceiving him. He had dug a series of holes for fence posts, and was trying in vain to fit an unwieldy bamboo pole in one of the elusive holes. He would thump the pole on the ground all around, but he could not get it in the hole. Several times he fumbled forward and almost tripped himself.
At first Narada thought his spectacle was very funny. But the young man began to call upon the Lord to come and help him, and when this brought no results, he became angry and began to threaten God with curses and shouts: “You unfeeling, lazy God, what a fine friend You are! Come here now and help me fix my pole in this hole, or I’ll thrust the bamboo right through Your hard heart.”
Just then the young man’s wandering gaze fastened on Narada, standing shocked and agape at the drunken one’s temerity. His wrath diverted, the young man exclaimed, “You good-for-nothing idler, how dare you just to stand there, staring at me like that?” Taken aback, Narada said meekly: “Shall I help you to set your pole?”
“No,” growled the young man, I will accept no help but that of my Divine Friend, that sly Eluder who has been playing hide-and-seek with me, who is even now hiding behind the clouds, trying to evade working with me.”
“You drunken fool,” said Narada, “aren’t you afraid to curse the omnipresent Lord?”
“Oh no, He understands me better than you do,” was the instant reply. “And who are you anyway?” demanded the swaying your man, trying to keep his eye focused on the visitor.
Narada answered truthful: “I am a messenger from the all-powerful Lord, and I am searching out His true devotees on earth.”
“Oh!” the youn man exclaimed eagerly. “In that case I ask you to please put in a good word for me when you see the Divine Friend. Even though I behave badly now and then, and abuse the powers he gave me, please do remind Him about me. And ask Him why He has been delaying His visit to me, and when He is coming, for I have been waiting and waiting and always expecting Him.”
Narada felt sorry for the fellow, and so half reluctantly, he agreed to the man’s request, although he was privately thinking that his drunkard would have very little chance of meeting the Lord!
After Narada had traveled all over, and noted the names and accomplishments of many devotees, he suddenly felt so lonely for the Lord’s loving smile that he discarded his earthly form and rushed straight to the heavenly abode, as swiftly as thought could carry him. In an instant he was there before the Beloved One, surrounded by a warm glow of divine love.
“Welcome, dear Narada, ” said the Lord gently, and the light from His lotus eye melted the last vestige of earthly tension that clung to His messenger’s aura. “Tell Me abut your earthly excursions.” Narada gave a full report, ending with the descriptions of the two devotees who seemed to exemplify opposite ends of the scale of virtue—the pious old anchorite and the intoxicated young man with the pole.
“You know, Beloved Lord, sometimes I think you are too hard to please, and even cruel,” Narada said seriously. “Think how you treated that anchorite Bhadraka, who has been waiting for eighty years for you, under a tamarind tree. You know whom I mean!” The Lord thought for a moment an even sought a response from His all-recording heart, but He answered, “No, I don’t remember him.”
“Why how an that be possible?” Narada exclaimed. “That devoted man has been practicing all sorts of harsh disciplines these eighty years just to attract Your attention.” But the Lord only shrugged indifferently. “No matter what the anchorite has been practicing, he has not yet touched My heart. What next?”
“Well,” Narada began hesitantly, “by the roadside, I met—”
“Oh, yes,” the Divine One broke in, “you met a drunken young man.”
“Now how do You happen to remember him?” Narada asked complainingly. “Perhaps because the sacrilegious young fool was trying to pole You with a bamboo pole?”
The Lord laughed heartily, and seemed to be thinking about the impudent yung man for some time before he turned His attention to the sulky-faced Narada. “O My Narada,” He said lovingly, “don’t be angry and sarcastic with Me, for I shall prove to you which of these two men you have just told Me about is My true devotee.”
Having captured Narada’s interest in the experiment, the Lord continued: “This is really very simple. Go back to the earth again, and first report to the anchorite Bhadraka under the tamarind tree and say: ‘I have your message to the Lord of the Universe, but He is very busy now passing millions of elephants through the eye of a needle. When He gets through doing this, He will visit you.’ After you get the anchorite’s reaction to that, then go and tell that same thing to the drunken young man and watch his reaction. Then you will understand.”
Although Narada was baffled by the Lord’s instructions, he had long since learned unquestioning faith in the command of the Lord, so he thought himself back to earth and was at once standing under the tamarind tree, fact to face with the long-suffering anchorite.
The ancient one looked up at him expectantly, but after the strange message had been delivered, he flew into a rage and began to shout.
“Get out, you mocking messenger, and your lying Lord, and all the rest of your crazy crowd. Whoever heard of anyone passing elephants through the eye of a needle: What it means is that He’ll never come. Maybe there isn’t any Lord to come anyway.” He was now trembling with fury and brandishing a pilgrim’s staff. “I’ve wasted my life! This eighty years of discipline was nothing but folly! I’m through, do you hear? through trying to please a crazy non-existent God. Now I am sane again. For what little is left of life I am going to resume my long-neglected earthy pursuits.”
Narada was too horrified to say a word, so he just disappeared. But the second part of mission was not yet fulfilled; dubiously he came again to the roadside where he had met the noisy young man. The fellow was still there, and if possible more drunk than ever. The fence was not yet completed and he was laboring to bring the holes and bamboo poles together.
But no sooner had Narada appeared on the scene than the youth’s earthly intoxication seemed to leave him. In its place a premonition of great joy caused a divine intoxication which lighted his features as he came running and crying, “Hey there, Narada, what is my Friend’s reply to my message? What is His answer? When is He coming?”
When he heard the Lord’ strange message he was not at all disconcerted, he began to dance around and around with joy, half speaking, half chanting: “He, who can send worlds through the eye of a needle in an instant if He desires, has already finished passing those elephants though the eye of a needle. Now, any minute, He will be with me, and when He comes He shall touch me but once and I shall change. All my evil actions and bad habits will be drowned in my overwhelming love for Him.”
So the young man danced in heavenly ecstasy, as do many devotees in India when divine joy becomes too great for their bodies.
The feeble flesh cannot hold such immense bliss and—lest the very atoms fly apart and release their energy to the Divine Source which calls them—this bliss spills over into tears or into rhythmic movements of kirtana, into singing and dancing as an expression of this joy.
And now as the young man danced blissfully, Narada joined him, and soon they found the laughing, lotus-eyed Lord was dancing with them.
MORAL
If you ever feel smug about practicing the techniques, I hope you will think of this story and be jolted into seeing things again in their true perspective. Practice of technique is not enough. Intellectual attainments are no enough. Going to church regularly or performing good actions in a mechanical way because “it is the thing to do” will never bring Self-realization.
Students who resemble the anchorite may strive for years, only to turn aside from the path in a moment if reason tells them they have been misled. Like the anchorite who “knew” that elephants cannot pas through the eye of a needle, they try limit God’s powers and manifestations to conform to their own small comprehension.
But devotees who resemble the young man know that even if they have not been able to give up bad habits they can bring God closer and closer by constantly calling upon Him and expecting Him to be present at all times—to take part in their daily lives as well as to respond to them in their moments of prayer.
They know that all things are possible in God, and that most understanding lies beyond the intellect. When the devotee insistently demands the assistance and presence of God, lovingly visualizing Him and believing in His Omnipresence, then the Lord will reveal Himself in some form. With the dawning of the light of His revelation, the darkness of evil habits will automatically be banished to reveal the untainted soul.
I believe In fact I know it is so That the time for acting has come And I must play all of the parts; Cast in this trauma of lines The danger of saying too much Yet I fear more That silence or soliloquy That deadens the soul, So I grow more and less Baptized with fire Searching for a purpose In pleasure and pain Moving always toward the unknown — I will be lover — poet — warrior — Warmer — wiser — dead But on this stage all truth is shown And now I know why I was born Neither too young nor too old Just right for this war.
2 DEATH SONG
The sun will shine in the sky forever . . . I emptied my guns while I bled — The earth will grow new grass forever . . . I plunged to the ground in flames — Mr. Fugi will rise from the plain forever . . . Let my bones rest on her side.
3DEATH OF A MARINE
Watching the imperial call Draining away his will The thing I remember most: The incredible blue of his eyes, More than the blood-soaked shirt More than the shell-torn isle More than the greater war In our last words: “You’ll see a better day, “ I started; He smiled and was gone.
4 FOR FREEDOM
How fantastic is war But more the military mind, That epitome of pride That turns the Spartan mill And grinds everything Into a grey nothing . . . Remembering how we looked As a measureless mass And knew we no longer existed.
5 BEAUTY
(Years Later)
It was a long time ago it seems The gilded daisy of plane with props The heights And damned desire to live — almost as if The training tales were true The stimulus of danger The belonging Flying for something greater — It’s strange The things you think about God . . . Mr. Fugi And Dave Sherrin High wide and blown from his glory.
6INTERRGATION
I stand arrayed As if for one last flight Giving everything Even my thoughts Of that spectacular place and time; I saw a vision Eternal as Fugi Framed in the eyes of man Then I remember A swift and violent scene A flaming plane Disintegrating . . . Against the perfect whiteness I was forced to believe That there were no gods.
7 RENDEZVOUS AT MT. FUJI
Vectored Into eternity The legend fell As the Japanese morning Disappeared into the hills, We With the look of eagles Discovered ourselves skyward Taught beyond our will — There In the advent of blood We formed the incongruous ring Of our childhood days, We were the smallest things Bare understandings Circling a stranger god — Again The old apprehension Turned on the honor point, Climbing Throttles forward Our endurance Shuddered under the weight — Heading Toward that unknown fastness The sun lined our cry With the last whisper of spring, We were old at twenty-three — It was a good day to die.
8SECOND COMING
And it came to pass In those days, that he returned And they recognized him not But thought he was a traveler And inquired of his ways; And said unto them: “I am looking for Prester John, There must be a Christian here somewhere.”
9ABRAHAM AT MORIAH
Trusting His promise: Unto thy seed will I give this land; I went on and on believing That my descendants would be, many Like the sands among the sea, That He would make of me a great nation; I sired a son when I was very old, Proved I had magical powers
Perhaps so great I challenged even His, For jealously He asked me for this son; My will divined the purpose of the Rod, No man would kill his son for any God, And knowing well His promise I had blessed I thought it time to put Him to a test — And so with Isaac I traveled to that place And took along a ram Just in case . . .
10AL BARGAHER
When that burst of flak Tore off your wing And sent you spinning through the sky, You looked just like a maple seed Floating into the water On a bright May day.
I’m sorry you were chosen To remind me of Spring.
11NO GREATER LOVE HATH . . .
Flying Toward the strange white night We thought of deliverance from the terror of choice, The difference The splendor of our scheme We could not sleep and refuse tomorrow’s voice; Compelled We thrust the unknown With outstretched wings, a naked bond between And then a distant light when we had come alive — A flame burst over the harsh beauty of the sea And Keith was gone.
12LAST WILL AND TESTAMENT
I God Being of sound mind and body (And quite tired of it all) Do hereby give, devise and bequeath To Adam and Eve and family One restored garden With a snake-proof fence.
13WHEN I DIE
When I die Grant me the infinite peace which comes only From thoroughly confounding my aggravators; Mask me in a grin, Then place me in an upright position With my face pointing toward the East And my hand extended with thumb at nose, Respectfully of course, And if perchance it is decreed I took more from this world than I gave, Display me . . . and charge admission.
14 MIGRATION
I have walked the hills for years And have never seen a burning bush Though I have seen a few miracles, So call me a pantheist if you will, For I know it makes you feel better To know that I believe in something;
You think that you hear the grass grow, But Genesis and Spinoza told me nothing — I saw it! The mosquito drinking may blood, The oriole weaving its basket nest, And I rose from the reflective trees, Lemming-like swimming in the sky, Until I filtered into the plan Of orderly defeat and exquisite show;
I breathed the thin pure air And suffocated from the strange loneliness.
15 GREEN JOURNEY
Once out of the Garden Let us beguile ourselves And dwell in simple things, This liberation, The tree beyond the knowledge A pleasure in finding The smallest caring Swift brilliance Run and flow Spontaneity Where life came as it must With a promise Of rhythm in body and soul — Bring forth the child That we may have miracles A poem again in our keeping That from the earth grows immortal.
16 BLOOD BROTHERS
We Who had never learned patience Rose from the cloistered walls Became the searchers Creation born Became the sufferers Torn from the fact of the sun; Icarus Would they believe What you and I have known: We dare and fell from grace But we have flown.
17 THE RESURRECTION
(Painting an Easter Storm)
A crucified beam Slants from the moon-gate Over the drift of death
Blue . . . is water
The mist merges A stormed excitement With the low hills
Green . . . is land
The naked trees Shed their limbs In the wetted wood
Yellow . . . is light
New lines of urge Rise to the call Of the winds
Red . . . is life
Huge doors Open the sky To the returning sun
Clear . . . is time.
18 MATURITY PAINS
I have resolved my quarrel with the snake And I will accept him a one of God’s creatures But with the bit of a small boy that is left in me, You may expect that I will from year to year, Throw a few rocks in His direction.
19 CAIN’S WIFE
I remember the first time I saw him Walking along the life’s enormous weight, His memory bore a mark troubled and dark As if he had been punished by the Sun; Out of the dread night, I heard him cry; “Murderer, I am a murderer!” But I knew not of theses words, Only the sound of his loneliness That his separation was death; “Who are you?” he asked unknowing That want had begotten me “And where did you come from?” And I could not answer him But offered him my warmth —
Then silently along the earthly footpath Creation’s ghost returned Infinitely old, eternally new Spawned from the myriad cells That matched our difference, And finally he closed his eyes And saw the magic of existence
The woman that God had not explained; At dawn His affirmation turned from the bitter wind And together we walked into a promised land Where life gave unto life And we were born.
20 ORGANIZATION GOD
Perhaps you will understand Your place in the new order Now that you realize That we have created you In our own image;
Let us say That you were kicked upstairs And there you all stay Until we call upon you To lead our bloody schemes.
21 DOCTRINE OF ORIGINAL SEX
Hear me now All those who bow The plight I will explain It was like this: In time I stood against the wind And called his name, In faith he came And in faith he fell But he knew — Only God was naive.
22 ESAU ISAACSON
Proprietor and Sole owner
Originally we were a family concern A monopoly of sorts Dealers in asses and goats And backed by the highest O. T. Agency; Grandfather founded the firm own principles: Never trust nobody, not even relatives But father forgot and so did I Lost out in a take-over bid When Mother voted her stock; You remember that brother of mine The one with hairy schemes, Went right up to the top Until the crash caught up with him But let me tell you about that: In time I wrestled for control, Lost again, threw in with him And let him run it by the Book; I was the junior partner, a very minor sort But through my Philistine friends I learned the art of selling short; Then opportunity came Jakie told me about this scheme The hairiest one of all Something about a ladder To a golden street, a steal . . . I said, “Brother, it’s a deal! At last we’re seeing eye for eye”; I even waived the matter, How and when to cut the pie, What matter . . . I held the ladder.
23 GOLGOTHA
(For Mary, One of my Students)
When I proclaim the world is flat And that I’m searching for an edge I am only rounding a vision for you; I stand, a son of man, not God And I could be called Paul as we as Peter: I speak for our sons and daughters And had I known, it should be thus explained: That we have all failed in our historical sense, There was manipulation at the manger Saul died on the way to Damascus And Simon was wholly afraid; Only from that shipwreck of faith Did l learn to walk upon the water So what matter, then, you call me in this place A heretic, to give the cup and cross For I accept, knowing I can live through a long series of deaths Believing in your all-essential good And would not change your world in any way Except to lead you gently into spring.
24 RHYTHM METHOD
Poetry is a human trait We fall into it Naturally Inevitably Stroke a few lines Then peter out.
25ZEN
(For W. H. Auden)
When From the mountains of choice I asked the sage The nature of my plight, He replied: Leap! And I cried: Unwise! He knew I had no wings Yet I complied, And in time I found He had had tricked me into flight.
26 TO CATHÉ
(Who sits on the front row)
I cannot fail To see in you unmistakable goodness When you ask: “Why don’t you write nice poetry” And regretfully I’ve seen the world this way And worse — Perhaps, though, there’s a hope — Your innocence tells me I should not fail To write that nice poem . . . tomorrow.
27 RAIN
. . . and I came With the storm And let you take me High and against the sun To create in you An immortality From the first clouds Becoming All lost worlds Of bright togethers In warring winds And flaming sounds — Then I The emptied one Fell down in the sky Unforgiven by time.
28 CASCADE
Here Where the river starts From the snow forgotten I float motionless At the moon-beak— Below An intensity rises A blood theme In a summer swirl — The day comes Bringing only A promise of the hills Behold! I too shall create!
29 WHY
When was it when We were condemned To be free and lost To our instincts Knowing How it is how we are severed And sewn shut With abstracts Threading Where it was where We were given To choose and lose In the grandeur of want?
30 GADFLY
Dangling in the intricate maze Struggling in the evening web Drowning in the jeweled dew Knowing the spider will be here soon But that flies have all the fun.
31 WHERE IN THE EARTH’S CONSCIENCE
Where in the earth’s conscience Can we justify ourselves? Our day has wandered away The mysterious night is here Out of this memory of breaking strings We will save nothing — Then who shall we blame New or never Knowing that someday we’ll say goodbye Like . . . tomorrow.
32 DR. LINCOLN PRESCRIBES:
“With malice toward none And charity for some And a big tube of ointment For Clement Vallandidgham Who was singed When we burned off the brush To smoke out the copperheads.”
33 EXPENSE ACCOUNT
Stopped In this state Shocked Bleeding inside himself He stares at the hostess who smiles Oblivious of her own nakedness — Her siren song Salt for his would He could quench this thirst in other lands And he would if he could but he can’t; Propriety tells him to drink and he does, Quicker than the psychiatrist and cheaper too,
He retires Mourning the alcoholic way And tomorrow He submission is recorded As allowable expense.
34 FINALE
In Conservia My friend sits wondering What will become of us all, Truth is dead The world is Red And all’s been said And more’s been done than said all wrong —
The election confirmed That decadence had wormed It way into the nations’s soul And on the while His role is dead —
It died way back there In Conservia Where my friend sits awaiting the end —
Ex-boozer Ex-gambler Ex-chaser
now —
Ex-reformer.
35 LEE ANNE
(On Her Seventh Birthday)
Walking This side of her When trees are bare And distance sharpens the cold Into a clear necessity A turning goodbye As time reveals her role — What calmness Lies behind the voice When she asks, “Why are we walking his road?”
36DEATH AND REBIRTH
We have com to the end which is not the end And age and resolve have solved nothing, Our monstrous child towers over us And we cannot love what we create; What will stand in the place of death But grand endurance that cannot sing and if we stop who waits to listen It worlds that go too soon unsung; Born again and again to weep bitterly Sharing the dreadful joy of another sun Where love kills love in the cauldron of want And we who are dead, survive.
37 RETROSPECT
Of this I have seen The sober quality of a woman’s hand Waving good-bye The delicate sheen covering of love And the possibilities of me —
Of this I have known This calmness of that beauty Offset a gloomy past And I stood smiling naive as a child Thinking there would be another time.
38E = MC2
Surmounting all obstacles Our affinity, concealed, Awakened and opened its eyes To be born To be revealed anew, Transmutation in the greatest fire — Ah! Love should leave a memory, Yet, after all that We parted as perfect strangers.
39 SPRING
. . . and it come again Irresistibly drawn From the white darkness An intense recoil Of lithe life leaping In a sea of green And a raven-haired Image of eternity Straining the end Of the crazy cord.
40 LOST BOY
Caught in the glow of the moon An apparition crosses the sky, Then and again in the wind, A father’s far-a-way cry — An unexplainable sadness Comes from the night beyond A terror mysteriously formed And then I slowly remember A lonely boy running away.
41 HILLTOP
The eleventh hour of hypnotic touch Not from my memory But in an inverted dream — What pleasure it was, this torment And what possible salvation for me Except at that time Between sleeping and waking Life was wonderfully good.
42 TRANSIENT DREAM
When in a transient dream The clouds opened Creating a sun And I discovered myself — To see beyond I climbed higher Asking only for time But when I found that place Its origin was emptiness.
43 TO JOHN
(Who sits on the back row)
So I’ll admit That you as a solid football player Should never be caught standing on the your toes With your head sticking up through a cloud, But do not so loudly proclaim That you’ll have none of my game, I know it was you Who wrote that poetry on the rest room walls.
44 SPEAKING OF YOUTH
If I say anything of my youth I will say I was small for my size And got the Hell kicked out of me Purposely — It was essential To be ugly To be welcome.
45 ROLE CALL
Somewhat invested with beauty She nevertheless replies: “I’m dreadfully pregnant,” But I am envious — She can do something That I can’t do.
46 WINTER NIGHT
A singular light Across the snow-field plain, The distance to there . . . The cold.
47 OWL SPIRITS
Lightly Life comes upon him Nightly As though the day Were guilty by decree And I his honored guest Too long in earth’s repose Softly Fly away with him.
48 MARCH
The sun Cold eye of morning, Its invitation to spring Declined — When was it When the flowers last grew here?
49 MORNING GLORY
I crept into being Faintly purple Found myself a spring And touched the shyness of the sun Then On a sudden path I ran Until time had lost its meaning.
50 NIHILIST
The world A rimless zero I perceive And beyond that — Nothing.
51 REVELATION
In an otherwise cloudless sky I saw a strange formation — I am tempted to start A new religion.
52WINTER DAWN
At first When the seed opened I found nothing But time and the subtle essence Produced a flower Then From the dream silence A distant drum throbbed And in a summer mood I was born; Was it real? I yielded the pillow And in the red moon I saw the gods depart — It is quiet once more.
53 SIXTH SENSE
When the warm winds came I walked the willow edge Searching . . . listening . . . Though her footfall was soundless Her reflection was real — I looked into the stream And watched it flow uphill.
54TRAGEDY
At last We forget We forget A saving grace allowed to us And yet The memory A thousand winds beget — Perpetual loneliness.
55HOAR FROST
But For a moment The crystalled fog captures the sun And wantonly the trees smile again Then After a warm tinge of conscience They cry their jewels away.
56COLLISION COURSE
The knowledge before And the knowledge after The wind voice calls As the great door closes — I would move mountains And burn utterly away.
57 ICONOCLAST
Time and proximity Created the image With an unlikeness To any realness And it stood motionless While the flowers Formed from the shadows Of a spring song;
Time and propriety Weighted its wings With the incense Of summer mysteries But it grew restless In the growing storm Wondering and searching Autumn prophecies;
Time and anxiety Tangled and taut Tested it magic To tangible touch And it broke with a kiss — And she ran away Scattering the pieces In the dying wind.
58OBJECTIVE CASE
From symbols of love I grew A tangle of eyes and feet And could I have stayed there I would have been secure, But I insisted on a room with a view — One yank And I came from darkness, One smack And I felt tomorrow And falling backwards, I cried an eternity.
59 CLOTHES MAKE THE MAN
I have noticed that We are both impeccably dressed, But that you prefer To make your appearance In black and white, While I prefer A variety of colors. This difference, I believe, Stems from the fabric Of our hair shirts; Yours seems to scratch you While mine only tickles.
(This poem was first published in the Ball State Teachers College FORUM, Spring, 1963.)
60ON THE DAYS THAT I SAW CLEARLY
On the days that I saw clearly In the quandary of time’s coming, My intellect strayed and I could not escape; I drank intoxicating myths But I created no gods, And then the leaves fell from the tree And I recognized you as the new ghost of the sun;
Though I sensed the contradiction I was afraid to wait While time came circling the seasons And I was renewed in its flight So I have written you into being And if this divine seed should fail, So be it, for I was saved When I gave the miracle a chance.
61INTRIGUE
Wandering On a snow-night With the autumn of things A linden grove In the purple lea of time The heart leaves With her beauty, knowing That snow inevitably covers The nature of things And I never knew her — Then why do I grieve?
62LET IT BE SAID
Let it be said Then say no more of this — Too late we remembered How we had come Or when we had found This meadow land; The why is lost Here where the hill fell down, This is the relation The first and last The only one An all we’ll ever need.
Publication Status of Mr. Sedam’s Between Wars
Because Mr. Sedam’s Between Wars was published by now a defunct press, acquiring copies takes some searching. However, with a little luck, one can still find copies offered through various sellers on Amazon or Abe Books, for example, Amazon now features two copies of Between Wars, reasonably priced at $15 and $15.89. Please check back to this site or on Amazon for updates on this book’s availability.
Elizabeth Barrett Browning’s Sonnet 2 “But only three in all God’s universe”
Elizabeth Barrett Browning’s second sonnet from Sonnets from the Portuguese reports that her relationship with her life-mate is granted by God, and thus, it cannot be broken or disavowed.
Introduction and Text of Sonnet 2 “But only three in all God’s universe”
Elizabeth Barrett Browning’s sonnet 2 focuses on her growing relationship with her beloved life partner, Robert Browning. In this sonnet, the poet creates a speaker who insists that the relationship is the destiny of this couple; it is karmically determined, and therefore, nothing in this world could have kept them apart once God had issued the decree for them to come together.
The speaker’s faith allows her to begin a healing process that had begun with the onset of the relationship that would result in permanent love and affection between the two. Still, she will continue to muse and ruminate on her lot; she will remain cautious until she can become totally enveloped in the notion that she is loved as much as she had longed for and hoped.
Sonnet 2 “But only three in all God’s universe”
But only three in all God’s universe Have heard this word thou hast said,—Himself, beside Thee speaking, and me listening! and replied One of us … that was God, … and laid the curse So darkly on my eyelids, as to amerce My sight from seeing thee,—that if I had died, The deathweights, placed there, would have signified Less absolute exclusion. “Nay” is worse From God than from all others, O my friend! Men could not part us with their worldly jars, Nor the seas change us, nor the tempests bend; Our hands would touch for all the mountain-bars: And, heaven being rolled between us at the end, We should but vow the faster for the stars.
Reading
Commentary on Sonnet 2 “But only three in all God’s universe”
In sonnet 2, the speaker reports that her relationship with her life-mate is granted by God, and thus, it cannot be broken or disavowed.
First Quatrain: A Private and Holy Trinity
But only three in all God’s universe Have heard this word thou hast said,—Himself, beside Thee speaking, and me listening! and replied One of us … that was God, … and laid the curse
The speaker avers that in the couple’s relationship, there are only three beings who have been privy to “this word thou hast said.” When her partner first told her that he loved her, she senses that God was speaking His own love for her as well.
As she excitedly but tenderly took in the meaning of the declaration of love, she realized what her lot might have become without this happy turn of events. She responds rather hesitantly, even awkwardly recalling her physical illnesses that she labels “the curse.”
Second Quatrain: The Curse of the Body
So darkly on my eyelids, as to amerce My sight from seeing thee,—that if I had died, The deathweights, placed there, would have signified Less absolute exclusion. “Nay” is worse
The speaker’s reference to the “curse” is an exaggeration of the earthly physical body’s many issues with the pain of having to exist in a physical body. Additionally, it might be helpful for readers to know that the poet did suffer much physical illness during her lifetime.
Thus, she can rightly allow her speaker to focus on the inharmonious circumstances that have disrupted but also informed the dramatic issues infusing her poetics. This particular “curse” that was put “[s]o darkly on [her] eyelids” might have hampered her ability to see her beloved. Even if she had died, her separation from him would have been no worse then her inability to see him in this life.
First Tercet: God’s No
From God than from all others, O my friend! Men could not part us with their worldly jars, Nor the seas change us, nor the tempests bend;
The speaker then truthfully responds that when God hands down a “no,” it has meaning beyond the kin of the human mind and heart, and regardless of what humanity thinks, what God assigns reigns.
If God’s answer to a mortal’s most ardent prayer is a resounding no, then that supplicant will suffer more than being turned down by a mere fellow mortal. The suffering is likely to continue until that deluded soul finally reaches emancipation, thereby understanding all. But by good fortune, God brought this pair together, and thus, nothing any person could do or say could alter that fact that God bestowed this love on this couple.
The speaker is echoing the marriage vow: “what God hath joined together, let no man put asunder.” Thus, the speaker is asserting that the bond that rendered her happiest on this earthly plane of being is the one with her beloved partner and future husband.
Second Tercet: Ordained by God
Our hands would touch for all the mountain-bars: And, heaven being rolled between us at the end, We should but vow the faster for the stars.
The speaker then reveals that she has confidence that the union with her beloved is ordained by God. With such assurance, she knows that even if “mountain-bars” tried to separate them, their “hands would touch.”
So completely confident is she that she can declare that even if after death, if heaven tried to disrupt in any way or intrude in their union, the couple’s bond would become even tighter, protecting the love that is blessing them. Not even the influence of astral movements could begin to intrude upon the God-given bond this couple has gained and nourished.
In Audre Lorde’s “Father Son and Holy Ghost,” the speaker revisits memories of a beloved father, who has died and who served as a rôle model for moral and ethical behavior. The speaker reveals her deep affection for her late father as she relives special features of her father’s behavior and her reaction to them.
Introduction with Text of “Father Son and Holy Ghost”
Although Audre Lorde is well known as a black lesbian poet, who wrote on issues of identity, she also wrote more personal pieces that address themes common to all of humanity. The death of a father is one such theme.
In her elegy “Father Son and Holy Ghost,” Lorde creates a speaker, who is remembering various aspects of her father’s behavior while he was alive. But she begins by strangely emphasizing that she has not as yet visited her father’s grave.
That admission alerts the reader that the poem is focusing on earlier memories. While that first impression prompts questions in the reader’s mind, answers begin to form in the second movement. Another question might be begged regarding the title and what it implies.
By invoking the Christian Holy Trinity, the speaker is implying that the spiritual nature of her memory will include three levels of understanding of the father: he was the progenitor of the speaker (Father), he lived a life of consistent, respectable, and moral behavior (Son), and he revered his wife, the mother of his children (Holy Ghost).
Her admiration for her father is displayed in a Dickinsonian, elliptical style; the poet has not added any unnecessary word to her drama.
For example, instead of merely stating that her father arrived home in the evening, grasped the doorknob, and entered the home, she shrinks all of that information in “our evening doorknobs.”
Because doorknobs remain the same whether it be morning, noon, evening, or night, the speaker metaphorically places the time of her father’s arrival by describing the doorknob by the time of day of his arrival.
Father Son and Holy Ghost
I have not ever seen my father’s grave.
Not that his judgment eyes have been forgotten nor his great hands’ print on our evening doorknobs one half turn each night and he would come drabbled with the world’s business massive and silent as the whole day’s wish ready to redefine each of our shapes but now the evening doorknobs wait and do not recognize us as we pass.
Each week a different woman regular as his one quick glass each evening pulls up the grass his stillness grows calling it weed. Each week a different woman has my mother’s face and he who time has changeless must be amazed who knew and loved but one.
My father died in silence loving creation and well-defined response he lived still judgments on familiar things and died knowing a January 15th that year me.
Lest I go into dust I have not ever seen my father’s grave.
Commentary on “Father Son and Holy Ghost”
In her elegy to her father’s memory, the speaker is offering a tribute the demonstrates a special love and affection, along with her deep admiration for his fine qualities.
First Movement: An Unusual Admission
The speaker begins by reporting that she has never visited her father’s grave. This startling suggestion has to wait for explanation, but the possibilities for the speaker’s reasons assert themselves for the reader immediately.
Because seeing the grave of a deceased loved one is customarily part of the funeral experience, it seems anomalous that the speaker would have skipped that part of the ceremony.
On the other hand, because she does not tell the reader otherwise, she might have skipped the funeral entirely. But whether the failure to visit the grave is associated with a close or distant relationship with the father remains to be experienced.
And oddly, either situation could be prompting that failure to visit the grave or attend the funeral: if there is resentment at the parent, one might fail to visit in order to avoid those feelings.
Or if there is deep pain because of a close, loving relationship with the parent, then seeing the grave would remind the bereft that that relationship has been severed.
By choosing not to explain or even assert certain facts, the speaker points only to the facts and events that are important for her purpose. And her purpose, as the title alerts, will be to associate her father’s death with profundity and devotion stemming from his deep religious dedication.
Second Movement: Not Forgotten
The speaker now asserts that just because she had not visited his grave does not mean that she has forgotten her father’s characteristics; she still remembers his “judgment eyes.”
Her father demonstrated the ability to guide and guard his family through his ability to see the outcome of certain situations, likely retaining the ability to encourage positive results. He was able to steers his children in the right direction.
She also remembers his arriving home from work in the evenings, turning the doorknobs just a “half turn.” It was likely it was the sound of that doorknob that alerted the speaker that her father was home.
The father’s work has left him “drabbled,” but he was a large man and remained “silent,” indicating that he was a thoughtful man, who likely entertained a “whole day’s wish” to return home to his family.
He apparently paid attention to his children, likely instructing them to “shape” up, assisting them in becoming the respectable people he knew they could be.
Now, those same “evening doorknobs” that sounded out under the grasp of her father’s large hand simply “wait,” for he will no longer be grasping them and entering his home every evening.
Oddly, those doorknobs can no longer sense the household members as they pass them. This personification of “doorknobs” indicates that the speaker is asserting that anyone seeing those family members would see a changed lot of people—changed because of the absence of a father.
Third Movement: Consistency of Behavior
The speaker then reports that her father brought home a “different woman” every week, and his act of bringing home that different woman was always the same. He also remained consistent in taking only one glass of liquor and a small amount of marijuana.
That the father grew in “stillness” suggests that he took the alcohol and weed simply to calm his nerves from the day’s work, not to simply get high.
The speaker seems to be suggesting that those women supplied the “weed,” pulling a bag of the herbage up out of their bags. (The terms “grass” and “weed” are slang labels for marijuana, along with “pot” and “Mary Jane,” and many others.) That the women suppled the weed is in perfect alignment with the father’s character: he likely kept legal alcohol in his home but not illegal products like “weed.”
That the father took only one drink and a limited amount of “grass” or “weed” becomes a characteristic to be understood and admired, even emulated. His consistency has made a positive impression upon the speaker, and she remains content in observing with respect his even-tempered behavior.
Repeating the claim of a “different woman” every week, the speaker remarks that each woman had her “mother’s face.” She then asserts the reason for the women with her mother’s face is that her father “knew and loved / but one.”
She is likely employing the term “knew” in the biblical sense; thus she may be implying that her father’s relationship with those women remained platonic. The speaker remains cognizant of the father’s consistent personality and behavior.
While it may be expected that a man would engage with other women after his wife’s death, that he remained attached to his wife’s visage and engaged sexually only with his wife because he loved only her remains unusual and makes its mark on the speaker’s memory. Her father’s respectability and morality have caught the speaker’s attention and those qualities remain in her memory of his behavior.
Fourth Movement: A Well-Lived Life
The speaker says that her father “died in silence.” She asserts that he loved “creation,” and he lived in a way that appropriately corresponded with that love.
Because of the positive, admirable aspects of her father’s personality and behavior, she understands the appropriateness of his “judgments” especially “on familiar things.” As he judged his family, he was able to guide them in appropriate and uplifting ways.
That he died on “January 15th” signals that everything he knew about his daughter stopped on that date, and the speaker/daughter knows that anything she accomplishes after that date will remain unknown to her father. Likely, she is saddened, knowing this limit will remain, and she has no way of controlling that situation.
Fifth Movement: Life’s Fulfillment
The speaker then asserts again that she has never visited her father’s grave, but in concluding, she claims that she had never done so because it might make her “go into dust.” The biblical passage in Genesis 3:19 asserts,
In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return.
The speaker seems to imply that she fears her strong reaction to visiting her father’s grave might result in her own death. And while she may also be remembering the Longfellow quatrain from “A Psalm of Life,” featuring the assertion, “‘Dust thou art, to dust returnest’, / Was not spoken of the soul,” she is not ready to leave her physical encasement just yet.
The ultimate atmosphere of the poem “Father Son and Holy Ghost” suggests a certain understated fulfillment in the father’s life: he strived to live a moral, well-balanced, consistent life, which the speaker can contemplate in loving memory, even if she may not be able to celebrate openly by visiting his grave.
Audre Lorde was born on February 18, 1934, in New York City to Frederic and Linda Lorde, who came to the USA from Grenada. Her father was a carpenter and real estate agent, and her mother had been a teacher in Grenada. Frederic Lorde was known for his nature as a well-disciplined man of great ambition.
Their daughter Audre became a prominent American poet. Her works are filled with passion, making her lyrical verses a riot of emotion. But she also took an interest in social issues, seeking justice for the marginalized members of society.
Lorde began writing poems as a high school student; she published her first poem [1] while still in school. After high school, she attended Hunter College, earning a B.A. degree in 1959. She then went on to study at Columbia University and completed an MLS degree in 1961.
Publication
Audre Lorde’s first collection of poems, The First Cities, was published in 1968 [2]. Critics have described her voice as one that has developed though profound introspection, as she examines themes focusing on identity, the nature of memory, and how all things are affected by mortality.
She followed up The First Cities in 1970 with Cables to Rage. Three years later she published From a Land Where Other People Live. Then in 1974, she brought out the cleverly titled New York Head Shop and Museum.
Lorde continued to focus on personal musings as she broadened her scope with criticism of cultural injustice. She often created speakers who run up against unfair modes of behavior. She also touches on issues that reveal the nature of individual sensuality and the power of inner fortitude in struggles with life’s trials and tribulations.
In her first mainstream published collection titled Coal, which she brought out in 1976, she experimented with formal expressions. In 1978, her collection, The Black Unicorn, earned for the poet her greatest recognition as critics and scholars labeled the work a masterpiece in poetry.
In her masterpiece, Lorde employed African myths [3], coupled with tenets from feminism’s most widely acclaimed accomplishments. She also gave a nod to spirituality as she seemed to strive for a more universal flavor in her works.
Legacy and Death
Audre Lorde’s work has received many prestigious awards, including the Walt Whitman Citation of Merit. She also earned a fellowship from the National Endowment for the Arts. She served as poet laureate of New York from 1919 until her death.
Lorde died of breast cancer on November 17, 1992, in St. Croix, Virgin Islands, where she and her partner Gloria Joseph had been residing since 1986. Lorde’s physical enactment was cremated, and her ashes were scattered over the ocean [4] around St. Croix.
Sources for Life Sketch
[1] Editors. “Audre Lorde.” Poetry Foundation. Accessed June 29, 2025
[4] Curators. “Audre Lorde.” Find a Grave. Accessed June 29, 2025.
Tricky Lines
As Robert Frost admitted that his poem “The Road Not Taken” was very tricky and admonished readers “to be careful with that one,” the following lines of the third movement from Audre Lorde’s poem “Father Son and Holy Ghost” have proved tricky:
Each week a different woman regular as his one quick glass each evening pulls up the grass his stillness grows calling it weed. Each week a different woman has my mother’s face and he who time has changeless must be amazed who knew and loved but one.
Scouring the Internet for analyses of Lorde’s poem, one finds a particularly absurd interpretation of those lines has taken hold. That misreading states that every week a different woman comes to the father’s grave to pull up weeds, thereby keeping the gravesite neat, and each woman’s face reminds the speaker of her mother.
However, that reading misses the mark for several reasons:
Misreading of the Terms “Grass” and “Weed”
It is quite obvious that the terms “grass” and “weed” are not literally referring to the botanical herbage, growing in abundance on the soil virtually everywhere, but are slang terms for marijuana.
Notice that the terms are used in juxtaposition to the father’s having “one quick glass,” an obvious reference to an alcoholic beverage. Also note that the speaker uses the term “weed” not “weeds” which would be the plants excised to keep a gravesite neat.
2. Misreading the Time-Frame
The speaker is looking back to when the father was alive and how he behaved. The different women pulling weeds (“weed”) at a grave jumps forward to the father being dead and in his grave.
But the speaker is reporting that the father brought home a different woman each week, have one small drink, and engage a small amount of marijuana—all while he was alive.
3. Forgetting the Speaker’s First Claim
The speaker begins by stating that she has never seen her father’s grave. There is no way she could have seen these different women pulling up weeds (“weed”) at his grave if she has never been there.
4. Misreading or Forgetting the Setting
All of the images in the poem point to the speaker’s setting the poem in the home, not at his gravesite. For example, “evening doorknobs,” “one quick glass each evening,” and “his stillness grows” all place the father in the home, not in a cemetery.
Stillness in this sense after death is an absolute, not a situation in which stillness can grow. If anything the decaying body might be thought of as the opposite of stillness with the activity of bacterial organisms ravaging the flesh.
It bears repeating because it must be remembered that the speaker has claimed she has never seen her father’s grave; so reporting on any activity at a his gravesite is impossible.
5. Father-Daughter Relationship
According to Jerome Brooks, Frederick Lorde, Audre’s father, was, in fact, “a vital presence in her life.” Her father provided “the solid ‘intellectual and moral’ vision that centered her sense of the world.”
Unfortunately, feminist critics have so overemphasized Audre Lorde’s identity as a “black lesbian” that they can assume only a railing against the patriarchy for the poet. Her true personal feelings for the first man in her life must blocked in order to hoist the poet onto the anti-patriarchal standard.
But as Brooks has contended,
In Zami, Lorde implies that her father, who shared his decisionmaking power with his wife when tradition dictated it was his alone, was profoundly moral. She also felt most identified with and supported by him as she writes in Inheritance—His: “I owe you my Dahomian jaw/ the free high school for gifted girls/ no one else thought I should attend/ and the darkness we share.”
Reading vs Appreciating a Poem
Reading and appreciating a poem are two distinctive activities. While it may be unfair to claim absolute correctness in any interpretation, still some readings can clearly be flawed because poems can remain Frostian “tricky.” It would seem that it is difficult if not impossible to appreciate a poem if one accepts a clearly inaccurate reading of the poem.
Still, it is up to each reader to determine which interpretation he will accept. And the acceptance will most likely be based on experience both in life and in literary study.