Littlefoot, Charles Wright, Farrar, Straus & Giroux
This book-length poem is stunning; I read it all the way through beginning in the evening and concluding the next morning. Then I decided to re-read, to find out why and how it is so wise and rich of a book. But I couldn’t. Littlefoot is not paraphraseable, and I was thinking of obtaining a neat answer which is exactly what this book does not afford. As if there is a plain English that can better state the meaning of a pure poem. No, there is no explanation of Poetry and Art or Beauty and Love. And I do not like to re-read a book immediately, especially a thrilling and deep book like this one. Let it sit for a year and then read it again. Its revelations are always like the inscrutability of Nature. And how words always are about something other than we think.
Wright’s book is a lifetime of experience–Charles Wright who was born in 1935 and who loves to dwell in the natural world of Virginia, Appalachia, North Carolina, Italy to name just a few of the places he has called home. The natural world washes over him day and night wherever he dwells. It speaks to him. He merely translates the language of the cosmos into these songs and brief tales, episodes, and epiphanies. When you read this book you will fathom that most books that purport to be books of poetry do not compare favorably with this one in the realm of truth, beauty and the good. This is a liberating book.
Everywhere one reads in Littlefoot one is freed from the constraints of the commercial order and its false worship of phony means and ends that cling like leeches to individual citizens and would-be persons. However, this book does not sermonize or issue propaganda. It feels the world about it with its fingers and eyes and with its ears and its nose and mouth. It is amazed at what it feels or senses while imagining and transforming what it is sensing. And it disappears as it were before our eyes and ears–we who are watching, listening, thinking, remembering, and forgetting. This book disturbs our habitual methods of experiencing life breaking up our neat little monologues and our false epistemologies.
It is clear as we read that we really do not know what we thought we knew. Words themselves have no attachment to nature; nature is alone and independent of words. Nature is wise, possibly, but then again Nature doesn’t give a damn for the word or this discussion being perfectly content to be itself or not itself. Nature doesn’t need man the artist in order to exist or to be happy or sad or guilty or proud. Charles Wright sings of the inestimable power and detailed beauty of Nature in its raw, sprawling representation and of his own privileged position as observer/poet with respect to this vast world of evolving forms.