Page 40 - Jewish Book Annual Volume 49

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the music o f these poems en te r into the stillness o f o u r being
until they establish that place o f holiness where they begin to
communicate to the God without, by resonating with the spirit
o f God within. H a r tm an ’s poetry is a religious experience.
Grossman’s recent collection,
The Bright Nails on the Scattered
(1986), serves as a prototype for this new age o f
empowerment in which poetry that is finely wrought, and am ­
bitious in its comm itment to evoking immediacy, has the ability
to transcend the limitations o f the ficdve.
“A destruction has set me free. I hear my voice/ Say, ‘No!’—
the first tru th . I can hardly move/ The leaden cape o f the air
. . . ,” he writes in the poem, “A Short Walk.” T h e leaden cape
o f the air is unsanctioned life. “Moving” implies en tering into
a love bond that defies human law as it is known to exist on
the Earth plane. This bond is a marriage between personal and
cosmic selves, a sense o f holiness “in the domain o f sanctity
(in which) all reference is ro tated and abolished.” Metaphors
are no longer necessary. T h e words move beyond their meaning
and carry the energy o f spiritual transformation into the realm
o f holiness.
Grossman is clear about the responsibility o f the poet.
Deconstruction, a dispensing with things as they are, is in o rde r
before true love, true spiritual communion, can occur. “Those
who cannot think the though t o f God are divided/ From them ­
selves, and those who think only the though t of/ God are divided
from themselves . . . ” (“A Blue H e ron”). Here is a passionate
ou tpou ring o f the need to create a channel o f love and light
that will freely flow between doub t and certainty, belief and
unbelief. Only when the soul is united with the self, can es­
trangem en t be dissolved.
This world has come to pass like a drop of new
blood on a nail.
And I know how many destructions are required to
make a poem,
Knowing how many destructions are required to make
a world.
(“A B lue H e r o n ”)