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THE BOOK OF MARTYRS.Read, sweet, how others strove,
Till we are stouter;
What they renounced,
Till we are less afraid;
How many times they bore
The faithful witness,
Till we are helped,
As if a kingdom cared!

Read then of faith
That shone above the fagot;
Clear strains of hymn
The river could not drown;
Brave names of men
And celestial women,
Passed out of record
Into renown!

And who doesn’t love a good martyr tale? I’ve had a little experience of Catholicism, the sine qua non of martyrdom legends, but it’s a trope certainly not limited to Rome: what Protestant soul is not stirred by the story of Jan Hus, or of Latimer and Ridley? (. . . we shall this day light such a candle, by God’s grace, in England, as I trust shall never be put out.) Not to mention Mary Dyer and the various Quaker martyrs. Or the secular martyrdoms of the Alamo and Little Big Horn and the whole Southern end of the War of Northern Aggression.

I can’t help but suspect that Dickinson had a bit of a smirk on her lips over this pornography of martyrdom; we, the non-martyrs, are made “stout” and “less afraid” by reading of their courage, but perhaps only while we’re engrossed in their tales. And if one passes “out of record / Into renown”, does this perhaps suggest that the record–the historical facts–fall away into legend?

Personally, I’m of the opinion that an ironic stance toward one’s valiant ancestors is the safest stance to maintain: to quote Hawthorne, “Let us thank God for having given us such ancestors; and let each successive generation thank him, not less fervently, for being one step further from them in the march of ages.”

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In Awkward: A Detour, Mary Cappello investigates all that is not smooth, facile, and fluent. The role of awkwardness in the work and lives of artists, including Emily Dickinson, is one component of what Newswise Arts and Humanities calls “a literary hybrid: part memoir, part cultural criticism, part philosophical meditation”.

One would expect the biography of Emily Dickinson, often represented as a recluse, to be characterized by awkwardness (though I think you’ll find her much sharper and less awkward than the simple version would have). But I think it’s in her poetry that awkwardness is used to great effect; we’ve seen this already in one of her poems, where the joyfulness of a wreck-and-rescue story turns awkward in its retelling:

Then a silence suffuses the story,
And a softness the teller’s eye;
And the children no further question,
And only the waves reply.

And we shall see many more ways in which Dickinson uses humor and irony to make things uncomfortable.

“Awkward: A Detour” gets a brief review in the Los Angeles Times; you can read an excerpt at the University of Utah humanities web site. It’s published by Bellevue Literary Press, an offshoot of the Bellevue Literary Review, put out under the auspices of Bellevue Hospital. (If you haven’t yet picked up a copy of Bellevue Literary Review, I highly recommend that you do: it’s one of the smartest journals of fiction, poetry, and essay out there, and that it comes from the medical world makes it that much more fascinating.)

The book’s site (with information about the author) is here.

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Glee! The great storm is over!Glee! The great storm is over!
Four have recovered the land;
Forty gone down together
Into the boiling sand.

Ring, for the scant salvation!
Toll, for the bonnie souls, –
Neighbor and friend and bridegroom,
Spinning upon the shoals!

How they will tell the shipwreck
When winter shakes the door,
Till the children ask, “But the forty?
Did they come back no more?”

Then a silence suffuses the story,
And a softness the teller’s eye;
And the children no further question,
And only the waves reply.

I love the way the last stanza undercuts the thunderous joy of the first two. The uncomfortable silence after the children ask their difficult but obvious question is palpable; the waves beating against the shore–the waves that know all too well what became of the forty–make the silence that much darker.

This photo is available as a greeting card.

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