The Art of Ballet

A few notes from the walk home

“The Rehearsal” by Edgar Degas

Maybe it’s because I finished a very messy-feeling first draft of Geranium today and sent it to my friend to look over, or maybe it’s because I walked home from dinner and the Oh Sees show rather than taking an Uber, but I am a bit adrift looking back on everything that’s happened in the short-ish 13 years since I graduated from college. When I was a junior I met my friend Courtney at a writing conference and we started trading poems sometimes over email. Her pieces always felt shocked, like they had just been pulled from the dryer and had something to say about it, and they made the hair on my arms stand up whenever I read them. She was nice about it, but my poems were not even close and one time after a particularly bad attempt at being clever, she told me to stop. “You need to read Jack Gilbert” she wrote, and followed up either then or a bit later with a commandment that stated that I was created to write prose poetry, or something sort of theatrical to that effect. I didn’t know what that was, but I got a copy of Refusing Heaven like she ordered and set off into the vast, metallic expanse of Gilbert’s Pittsburghian strict joy.

She passed away at the end of last year, and I don’t like talking about it all that much. I sat with Allie and Logan at her funeral, two of my best friends whom I met through her, and I couldn’t stop thinking about a line from the first Jack Gilbert poem she sent me all those years ago: “But anything/worth doing is worth doing badly.” I think it’s natural when someone you care about that much passes away to feel like you failed them, but after a few weeks I realized I was just having a hard time coming to terms with how much I did not want her to be dead. My lifelong struggle with grief has always been with how simple it is, and this particular version was no exception. What I really meant by wishing I had emailed her last summer when I remembered I had never sent her a copy of Ramona like she asked, was that I wish that it did not matter that I forgot. Voila.

On my drive home from her funeral I told her that it was the worst time I’d ever had in Fairfax county and laughed about the time she showed up to drinks years earlier dressed like Miss Havisham or something close to it. Maybe she said something back, and maybe she didn’t, driving at night through the piedmont is a fickle business and Virginians are particularly good of hearing what they want to hear. But after that I cried about writing for a healthy chunk of miles, I guess, or the things writing does to us in addition to what it brings through us. Or maybe it was only over what life does to us, and writing had nothing to do with it. I’m not sure. But since then, I’ve continued to go back to two pieces: the first Jack Gilbert poem she ever made me read, and best poem I think she ever wrote. I’ll change my mind about that at least a few more times, but tonight it’s true and I’m going to leave both of them with you:

Failing and Falling

by Jack Gilbert

Everyone forgets that Icarus also flew.
It's the same when love comes to an end,
or the marriage fails and people say
they knew it was a mistake, that everybody
said it would never work. That she was
old enough to know better. But anything
worth doing is worth doing badly.
Like being there by that summer ocean
on the other side of the island while
love was fading out of her, the stars
burning so extravagantly those nights that
anyone could tell you they would never last.
Every morning she was asleep in my bed
like a visitation, the gentleness in her
like antelope standing in the dawn mist.
Each afternoon I watched her coming back
through the hot stony field after swimming,
the sea light behind her and the huge sky
on the other side of that. Listened to her
while we ate lunch. How can they say
the marriage failed? Like the people who
came back from Provence (when it was Provence)
and said it was pretty but the food was greasy.
I believe Icarus was not failing as he fell,
but just coming to the end of his triumph.

Ars Balletica

by Courtney Kampa

It sits in the slow burn
of its own feathers. It dreams easy. And leaps. And fails
to mention to the rest of us what could happen
if it keeps happening—keeps leaving itself
in sunspots the way people do their shoes
along the stairs. It mixes red wine
with rum and soon regrets it. It regrets
nothing. Its one wish is to bear
a more exact resemblance
to itself, well lit and from the proper distance,
transforming on command like a fist
when you open your hand. It hides
its teeth, which have not been tried and found
wanting, but found difficult and left
untried. It flies
because it takes itself lightly. It’s dragged
like the bones of our bodies over every awful
kind of love. And it’s proud to be alive like that, dying
from another. It wakes the dead
vegetables in our crisper, cucumbers regreening
all at once. It scrubs the dishes before it breaks
them, which makes no sense. It
makes no sense. It is the dissatisfying sparkle
of pond-life, and the pond-life, also. It’s the smell
of a barn on fire, but doesn’t like it
if you say so. It’s the vacant space where already
and ever are never
not looking at each other. It’s placed places
for a reason. It wants to want
for nothing, which it does, but also wants
a purpose, which it has already, which is to hold itself
together. Beauty is what the soul has made
suffice. No one has ever seen God.