In the past I’ve discussed what I mean when I call myself a “Catholic Poet”, and I want to expand on that. This is an excerpt of a review that appeared in New Pages of my book, The Plumber’s Apprentice.
Joe Weil looks at beauty and sees the bloated underside where ugly makes a home; tells beauty to take a walk and falls in love with ugly. He examines his faith and everyone else’s to see it fail; tells faith to take a walk and revels in small depravities. He stares loss in its face and spits whatever was retained; Tells loss to take a walk and carry all the rest with it. Despite the darkness, Weil leaves us a kind of determined strength. In “Clap Out Love’s Syllables,” he writes, “Stocks fall, leaves fall, we fall, yet, falling, praise / the fields of lust on which our bodies graze.”
This is a book that invites bereavement to sit down, then fleeces it by cheating at poker. All the rules we thought written on stone have faded; the stone was wax. We were mistaken. I will surely wear this book out.
The review, like its claims for my work, is hard to cipher as positive or negative, though the end is an affirmation: “I will surely wear this book out.”
What the critic got at here is the chief thematic aspect of my work based on the Sermon on the Mount and Isaiah, the ontological source of all my poetry: reversal of values. The first shall be last, and the last shall be first, the mountains shall be leveled and the valleys raised, fair is foul and foul is fair, the transubstantiation of shit into God, and God’s saving power in shit, not the reality of semiotics or of success/failure, but that deeper reality of Eucharist which can only be gotten at when we have stripped ourselves of every piety and stand naked before the covenant—halt, lame, bawdy, incapable of redemption save through the violence of ontological grace—grace within mere being—being as the ferocity of value, the smallest, most discounted thing on earth as manifest in the creative force of God.
This is at the center of all my poems, even the dirty raunchy ones, even the poems in which I am cursing God, in which the voice of the poem is a scoundrel, even in those poems where I seem merely to be shouting blasphemies. I did not decide to have this as my theme. It had me. All my life I have been haunted by the dialectical reversal of values in Isaiah and in the words of Christ. Rank, privilege, even the rank of what is beautiful and what is ugly have always seemed to me the most suspect of human cognitions. How do we judge? How can fleabane–if seen at an odd hour and known at just the right moment and under certain situational coordinates–not outdo, not awe us as much as an alp? If this is not possible, then there is neither alp nor fleabane, but only our petty and smug constructs of values that go with them and we are imprisoned in a series of judgments which are final because they are without mercy. It is the lack of mercy and possibility in judgment, not judgment itself which I deplore. Always judgment is a necessary angel that is a good angel only if it carries in its arms the book of “but perhaps.”
In my poem Dandelions, the narrator kicks the old ladies at six o’clock mass who are compared to dandelions when they go to seed. He kicks them, lifts them up on his boot. He does so gleefully, and the old ladies do not protest but beg to be kicked, because, contrary to the violence of the act, it is the intimacy of celebration and love—the violence of all true contact.The poem ends
The things of this world
cry touch me. The things
of this world cry
The poem is meant both to exalt the reality and blaspheme against the pieties surrounding the value of the old, of the discounted, of those things we deem weeds. It insists on exalting, but at the same time, deconstructing and degrading, making a farce out of the cheap epiphanies and gentle smugness of sentimental attachment to the old. They have value not as sentimental tropes, but as the sacred and fierce text of mere being—that text Wallace Stevens insisted we approach. For in that text, fleabane is as likely beautiful and wonderous as a Swiss alp.
In another “review” I discovered on the internet, a student at Lafayette College wrote of my visit and reading at that school:
Weil believes we live in a world devoid of positives and negatives, a concept that often leaks out in his poetry, which can be simultaneously funny, depressing, sardonic, profound and “irrepressible” (to quote one of the event organizers, professor Lee Upton). One poem he read, entitled “Ethics for Huey O’Donnell,” was about a young friend of Weil’s whom everybody considered beautiful and charming before he died in his twenties of cancer. It is a deep and complex conflation of emotions that express the multiple layers of man.
Another poem he recited, “I Am What I Remember,” talks about personal identity and turtles before becoming a tiny treatise on life. Weil writes, “I am only what I remember: / the brief, peripheral touch / of a woman’s hand / on my lower back / as she squeezed past me / in seventh grade.” But truly most astonishing was the way he read, or perhaps more appropriately, performed. The man sung with outstretched arms and played piano while singing a song about virgins, a bright smile across his face while the crowd laughed at the undeniable humor.
Again, at the center of my work is contradiction, or rather I wish to reconcile contradiction if only for that moment, for, like all people with a high functioning case of Asperger’s, I do not get contradiction, am not gifted at nuance, and must take both sides of any issue with absolute conviction (sometimes all at once) in order to approximate nuance. Contradiction does not come from God claimed Thomas Aquinas, and I agree with the good saint. But the world, while God-created (parent), God redeemed (child), and God haunted/inspired (Holy Spirit), is certainly not God oriented: it is motley, hidden away from God behind a thousand conflicting tropes of willfulness and streben. The answer to this on the part of postmodernity is a rather too tepid, and, at the same time, too strident and absolutist embrace of uncertainty and the hyper-qualified, or, worse, the yawn of the fop, the grade z dadaist, the yawn that is thrice borrowed from Rimbaud via the French surrealists as sponsored by a hipster beer commercial in Brooklyn. No thanks.
I am a narrative poet, but my narratives go about sniffing the world. Dogs meander and crisscross on their path because they are keeping the scent of things at the center of their wandering. This is the large part of their reality, roughly in the center of a cone–a sort of core and focus by way of digression. Me and the dogs have a lot in common.
If I look at my poems, with the exception of a few that are merely for fun (well, a lot), I can see the theme of reversal of values, or confusion of values in all of them.
“Ode To Elizabeth” (see page 23): The poet speaks of “grimey Elizabeth,” goes to great lengths to depict a town where people keep plastic on the furniture and watch double features of Bruce Lee’s Fists of Fury with Ingmar Bergman’s The Seventh Seal And yet it is a poem of praise)
“Elegy for Sue Rapeezi”: Poem in which an ugly, girl considered a whore, a dyke, and a dick tease teaches the snob narrator the first things he learns about love
“Morning at The Elizabeth Arch”: “The winos rise as beautiful as deer.” Enough said.
“Fists”: Poem in which the broken and gnarled fists of a factory working father are given mythological value.
“Ethics for Huey O’Donnell”: A poem that tries to deal honestly with the contradictions at the heart of friendship and how one can be both true and false at once.
I can go on. My language is also motley and contradictory insofar as I move sometimes wildly between lyrical moments and blunt, even flat sentences, move between romantic imagery and cuss words. I believe in liveliness and exuberance as beauty. I believe the false gentleness and political correctness of our current progressives is as likely to get us killed as the pompous vulgarity and bloated bravado of our reactionaries because both are incapable of the true ferocity of which Christ and Isaiah before him spoke: the ferocity of love, the heaven that is taken by storm, by complete and ferocious belief in the value of all life. This is what is meant by Blake and by Jesus when he says “the violent bear it away.” Heaven is taken by storm. I am not interested in a new wrinkle on the early 20th century “Tango face.” I am not interested in the cult of the cool and the detached. If I want to kill someone, I’d prefer to feel my hands around his neck, not send a drone to do my dirty work. I can respect the hot and the cold. The lukewarm makes me vomit.
- What do I mean when I call myself a Catholic poet?
- A Catholic Poet, Part II: Reversal of Values