Posts Tagged With: Emily Dickinson

What’s Your Bumper Sticker?

Does your car have bumper stickers?  What should I think about them? About you?

It’s interesting to read bumper stickers on cars — whether I want to or not, when I’m in traffic, I find it difficult to ignore them.  Especially if the cars are near me.  Some of those bumper stickers are familiar; others are not.  Some border on the obscene.  Many are political, often for beliefs or attitudes I don’t share.

I get annoyed at the ones that have some little guy peeing.  In fact, I’d just like to peel those off.  But most of the time, I like to connect the bumper stickers to the people driving the car (or truck) and imagine what they’re like, or why they’d put that on their vehicle.

I’m one of those people who collects bumper stickers.  Some of them are even on my car.  And I remember bumper stickers I no longer have because they’re on cars long gone.

One of the first I ever put on was on the 1962 Chevy BelAir station wagon I drove in college: I went to McNeese State University and our arch rival in football was the University of Southwestern Louisiana, aka USL (it’s now the University of Louisiana at Lafayette).  For some reason, “Go to Hell USL” didn’t stay on my bumper long.  Clearly some USL fan ripped it off, at least in part.  The second was on a Chevy Monza that I bought in 1979 when I was in grad school at Texas A&M University; “I Brake For Armadillos” just made perfect sense to me.  Over the years, various other bumper stickers ended up in my office — “Mamas, Don’t Let Your Babies Grow Up To Be Davidians,” “Well-Behaved Women Seldom Make History,” “Native-Born Texan.”

Something about retirement, though, triggered some urge to plaster more on my car. Short of finding a used VW van and painting it psychedelic colors, I simply began to select new bumper stickers.

If you pass my 2012 Prius on the road, you’ll notice the “I Love My Shih Tzu” magnet on the side.  If you’re behind me in traffic, you’ll have more to focus on.  First are the two oval stickers for cars:  GB (Great Britain) and GR (Greece), two of my favorite countries.  Maybe I should simply start collecting them as I travel and use the car as a vehicle (lol) for a visual travelogue.

Last week, I put on two rectangular stickers on the back bumper, one on the right-hand side, one on the left.  On the right is a colorful “Coexist,” complete with a peace symbol as well as symbols from various religions.  Obviously, this is my comment on religious intolerance — of any and all flavors.  On the left-hand side of the bumper is a quote from an Emily Dickinson poem:  “Dwell in Possibility.”

That’s the one that I linger on, frankly, when I walk around my car in the driveway (or anywhere).  Dickinson is one of my favorite poets.  Enigmatic, Dickinson’s poems “Tell the truth but tell it slant,” and I love reading her poems.  They make me stop and puzzle, tease out possible meanings.  And “Dwell in Possibility” resonates for me.

Here’s the entire poem —

“I dwell in Possibility –
A fairer House than Prose –
More numerous of Windows –
Superior – for Doors –
Of Chambers as the Cedars –
Impregnable of eye –
And for an everlasting Roof
The Gambrels of the Sky –
Of Visitors – the fairest –
For Occupation – This –
The spreading wide my narrow Hands
To gather Paradise –”
Characteristic of her work is that use of the dash as punctuation of choice, rather than a period.  Think about it, though.  A period announces the end.  A dash simply continues.  And where do those dashes appear?  In a line — connecting a thought — or ending a poem —  and the placement of the dash makes a comment.  In the middle of a line or connecting two ideas, the dash links, mirroring a thought process.  At the end of a line or the end of a poem, the dash suggests continuation, not ending.  And in some contexts, that choice means something significant.  In this poem, for example, the last line is “To gather Paradise –” as though the gathering of Paradise (whatever that might be, whatever follows, continues.  The ending opens up rather than concluding.
And what about “I dwell in Possibility”?  I tend to read this as a poem about either poetry itself (“a fairer House than Prose”) or about religious beliefs, specifically about an afterlife.
However you read it, this poem accepts and perhaps even celebrates the lack of a given — for that is what possibility denotes.  And announcing right off the bat that she dwells “in Possibility” suggests something positive, something wide and embracing and limitless, not something fearful or limited.
Consider situation one, that possibility is about poetry itself.  With this reading, poetry offers a wider “house” than prose (and I might enjoy discussing that with her) with more windows and superior doors (for access both into and out of, I assume).  “Chambers as of the Cedars” (strong, perhaps, and also suggesting some spiritual meaning, perhaps of an afterlife) — the chambers of poetry, then, would offer some continuation, some kind of immortality.  “Impregnable of eye” — poetry isn’t something that is always something the eye/reader/poet can penetrate; sometimes the “meaning” is something even the poet may not fully intend or grasp.  Poetry would have an “Everlasting Roof / The Gambrels of the Sky–“; again, a suggestion that poetry lasts; also, that the “house” of poetry is part of the world itself, so that the roof simply is part of the sky/the heavens/the world.  Readers (“visitors”?) are the fairest for occupying this house, and for them the poem, from the poet’s “narrow Hands” spreads wide, opening up “To gather Paradise –“.
Or consider this as one of the many poems reflecting Dickinson’s religious beliefs.  Some poems suggest that Dickinson wasn’t certain of what came after death, though she seems pretty certain that something does.  She had moments of doubt.  Despite this doubt, she would write “This world is not Conclusion.”  And the poem here, “I dwell in Possibility” obviously fits in.  What follows might not be certain — but something does — and she dwells in possibility, not worried about the uncertainty of what exactly the nature of that might be.  As in “Because I could not stop for Death,” where she writes of the grave as a house, and in terms that are not frightening but comforting, here too the house itself is described in terms that are positive and even comforting.  If the grave is a house, it is one whose roof is open to the heavens (and Paradise), and the occupants have access.
That bumper sticker says much for me, in three small words.  A life philosophy, it reflects my own choice to consider that while I might not know or be certain what is coming (in life or death), something is there.  Or some things.  Possibility.  Possibilities.  I choose to dwell in possibility.
Some bumper stickers, though, are just my own smart-ass comments.  Such would be reflected by a bumper sticker with a Davy Crockett quote: “You may all go to hell.  I will go to Texas.”
That’s going on the truck.
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Sense and Sensibility

In Jane Austen’s Sense and Sensibility, the Dashwood sisters embody two opposing world views.  Elinor, the level-headed older daughter, is the reserved sister whose sense marks her as the responsible sibling who puts others ahead of herself.  Marianne, her younger sister, is all passion and feeling, all sensibility.  Elinor’s reserved demeanor is deceptive, for her repression of her true, deep and deeply felt emotions burst out of her, surprising others who have failed to see the depths beneath her surface control.  Even Marianne fails to recognize her sister’s emotional turmoil.

Though I prefer Pride and Prejudice (it’s one of the novels that I reread yearly), Sense and Sensibility reminds me of myself and Kay.  I’ve always felt close to Elinor.  I am the eldest and have had a similar sense of responsibility for others — for most of my life, indeed, I have had responsibilities that many people my age didn’t have to cope with.  As a teenager, I was wildly emotional — over Viet Nam, over imagined ills, over the kind of mother-daughter clashes common to adolescent girls.  My temper usually got the better of me.  I had to learn to control it, to subdue it.  By the time I was in my 30s, I think I was, for the most part, more like Elinor Dashwood.  Calm, thoughtful, sensible and practical.  I could be counted upon to plan and follow through.  I was, quite simply, an almost overly responsible member of the family.  Actually, I had been abnormally responsible as a kid — I mean even at 4 and 5.  Circumstances sort of demanded it.  And that continued.

Kay has always been the more fragile of us, more easily hurt and prone to hide in her room.  She’s the youngest, and inherently shy.  I think she came into the world with an inferiority complex.  She’s much more confident now, and continues to work on that.  But she’s still outwardly more Marianne Dashwood.  Her feelings are paramount — they are all on the surface.  They control her at times.

My feelings are there too — but my Elinor side seems to balance them.  At times, perhaps, to suppress them until I am alone and can deal with them alone.

Perhaps this difference has been most evident since Dad died.  I had been with Dad a lot more than Kay had, not because she didn’t want to be there, but because she is still working.  Weekends were her time.  And he was in the nursing home for a couple of months, too, so we visited him rather than lived with him.  During the weeks he was there, I supervised the house renovations.  I handled other issues.  I also got the irritated Dad more, I think.

But after we brought him home, it was intense, 24/7.  Kay had the first weekend by herself.  I had the two weeks.  I had the minute-by-minute nursing and caregiving.  I made phone calls to arrange ambulance transportation to dialysis.  She came for the second weekend and didn’t leave because Dad’s condition rapidly declined; I was supposed to go to Lake Charles, but didn’t because I was exhausted.  That was fortunate, since we took him to the ER on Friday night and ended up getting hospice on Sunday.  On Monday, hospice was there all morning, and he was in great pain.  Kay and Billie went to Lake Charles, doing some shopping and dropping a check from me off at my house for the repairman who was going to be there on Tuesday to fix my air conditioner; my friend Patty was to be there for the work.

Kay came back to a Dad who was basically asleep — after hours of my conferring with the hospice nurse and administering more and more morphine.  I still dream about those hours before she came back.

But when he died,  I did what I do best — crisis mode.  I do that by long experience.  Kay did well too, but there were moments for her when she broke down, when she said she wasn’t ready to let him go yet.  And that was after the funeral, too.  The many details of arranging a funeral kept us occupied.  But afterwards?

Reality had set in for her.  He was gone, but as she said, she wasn’t ready to let him go yet.  t think it had hit me much earlier.  My predominant feeling after his death:  one of relief, relief that he was now no longer in pain.

She is grieving now — emotions much more on the surface, much more in control of her.  Marianne, again.

Me?  I think I have been grieving for a year.  I saw Dad slip away in pieces.  Right now, there are times where I can feel the tears are there, and beneath the tears a gaping hole that is ready to suck me through.  It will hit me, I know, but right now there are other things I must do, business issues to take care of, and family problems to help with.  My emotions are private things, and I try not to let them out in public, which is another part of why I feel more like Elinor.  Her emotions are deep and when they are unleashed/released, they threaten to overwhelm her, and they surprise her as much as anyone.

Unlike Elinor, I know only too well how deep my emotions run.  I also know that I will let them loose sometime.  Just not now, when the practical Cheryl has her list of what must be done.   There will be times, in my house or my apartment — or my car — when I let them out and bawl like a baby, sobbing with my loss.  But that’s not for public display.

Even at the funeral, when I felt that void start to open and the sob caught my throat, I gulped, grabbed some TicTacs and started munching.  At times, I was afraid that the sound of pouring out TicTacs was audible and might disturb the service, but I kept chomping away so that I didn’t just lose it and really distract everyone.  That would be unacceptable.  I kept remembering what Dad told me at his brother’s funeral, years before, as I started to sob — “Wares don’t lose control in public”.  There’s the key:  in public.  Emotions are private, and to be released when appropriate.  So I channeled Dad’s voice telling me that even while I was at his service, looking at his casket.  Closed, might I add.  Funerals are difficult enough, and an open casket makes them even more difficult.

At the funeral, I kept worrying about my sister, about my Aunt Mildred (Dad’s sister), and my Aunt Jean (his sister-in-law).  Dad would be proud, I hope, that we all were teary-eyed but not out of control.  That would be horrible.

And now, almost three weeks afterwards, I work my way through the lists of to-dos.  I’ve seen a lawyer.  I’m getting repairs on the house before we put it on the market; I’m waiting for the appraiser’s report.  Kay and I are working this coming weekend on the hundreds of tools that are neatly housed in the double-garage.  They will get boxed and moved into storage.  I hope to go to the bank to the safety deposit box.

There’s so much to do.

Kay is working through this, trying to find her way through the changes that include Dad’s death and how we shape our lives without him.   We talk daily, often several times a day.  We talk about our own plans to rebuild at my beach lot in Crystal Beach — and I think it’s important for us. This is our family house that we’re building, our future.  We’ll create our own memories there, but we’ll carry others with us.  The new house will be furnished in part with things from Egan.  We probably won’t need anything at all for the kitchen.  We’ve got chests of drawers.  We need to buy new chairs for the table that Phil found and refurbishes.  We’ll need a new sofa (one that is a sleeper).  I want a new rocker for the living room.  We’ve got televisions and a stereo.  Our grandmother’s stereo cabinet from the 1940s will become the DVD storage, placed beneath the living room television.  It may also be the bar, something Kay and I find appropriate. We’ll have 3 bedrooms, one for me, one for Kay, one for Rachel, my niece.  One bathroom.

Channeling my Elinor, I keep going as I work through the list.  I help Kay as she occasionally breaks into her Marianne side.  At home, I let my own emotions out at times, but so far, nothing of epic magnitude has emerged. At times, though, I admit to feeling overwhelmed — not by Dad’s loss as much as by the sheer number of chores that await me.  Panic attacks threaten, but I’ve avoided them with deep breathing and grounding techniques.

Emily Dickinson speaks to me at this time as much as Jane Austen does:  in one poem, Emily D says

XXXV
I CAN wade grief,
Whole pools of it,—
I ’m used to that.
But the least push of joy
Breaks up my feet,         5
And I tip—drunken.
Let no pebble smile,
’T was the new liquor,—
That was all!
Power is only pain,         10
Stranded, through discipline,
Till weights will hang.
Give balm to giants,
And they ’ll wilt, like men.
Give Himmaleh,—         15
They ’ll carry him!

I taught that poem for years, and it speaks to me constantly of how I myself feel.  I’m so used to grief that I can wade it easily.  But comfort — “balm” — that and joy are less well-known to me and threaten to make me slip.  Yes, Emily, yes.  I agree.

Sense — me — and Sensibility — Kay:  We manage.  And that’s positive, good, desirable.  We work together.  Day by day, step by step.  I count our successes.  They make the troubles– the griefs that threaten, the new crises that crop up– survivable.

Not that we don’t bicker.  We do.  Don’t get me wrong — our essential sibling relationship remains.  But both of us are conscious that Dad, our mediator, is gone, and it’s up to us to find our way together.

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