Flashback: Form and Substance: How a Sonnet Saved My Life

[While I am working on another project, I am re-posting some of my favorite essays. This post originally appeared on August 22, 2011.]

The Sonnet

The sonnet is the most restrictive of

Poetic forms. A scheme is strictly set

Dictating poet's rhyme and rhythm, yet

He chooses it for lofty thoughts of love,

Admiring noble deeds, or saintly stuff.

Indeed, the sonnet always seems to let

Transcendence have its way so as to get

A sense of freedom. Thus we see it prove

To be the highest, freest form to whet

A true Poetic. Often when I see

The bounds within which I must find my way,

(The cold collective spreads its mindless net

And freedom seems to fade) I wish to be

A living sonnet soaring through the day.

CLK                                       2/82

The sonnet, like so many aspects of society, provides rules, structure and boundaries. We can find comfort in those boundaries we see in society. Boundaries give definition to what is expected and provide security in our roles. On the other hand, boundaries can be restricting and oppressive. We have common metaphors that speak to this paradox: “keep your hand on the plow,” “stay on track” are just as familiar as “he was chomping at the bit,” or “pulling at the traces.” Boundaries indeed offer guidance, but sometimes one must slip the traces or jump the tracks. I recently read some words from Spanish poet Antonio Machado which speak poignantly and profoundly about how we make our own way to find our true path in life:

Why should we call

these accidental furrows roads?

Everyone who moves on

walks like Jesus, on the sea. [1]

The sonnet above is one that I wrote when I was 28 years old. I offer it as an example of how one can be awakened by one’s own poem. At the time, I was teaching English at Hong Kong Baptist College on a two-year assignment with the Southern Baptist International Mission Board. I had graduated from seminary and had plans to go into ministry upon return to the States. During my first year back in the U.S., I was in the middle of a chaplaincy training program at Montclair Baptist Hospital in Birmingham, Alabama. One evening I was re-reading the sonnet that I had written two years before. For some reason, I imagined myself as a 68-year-old man and a young man was reading the sonnet. The young man asked me if I ever learned how to be a living sonnet. The only honest answer I could give in that imaginary situation was, “No. I never did.”

It was at that moment that I realized I needed to get out from where I was at the time. Toward the end of my chaplaincy training, I was offered the opportunity to apply for an opening in the chaplain residency program at the hospital. To the director’s surprise, I never applied for the position.

Finding New Directions

“Where will you go from here?” the Pastoral Care director asked. I had no clear answer, except that I knew I had to go away from where I was at that moment. The next year proved to be a formative year. I left the Baptists and found St. Andrew's Episcopal Church where there was a commitment to high liturgy and social service. While there, I found employment at St. Andrew’s Foundation working with adults with developmental disabilities in group home settings. The overarching ideal at St. Andrew’s Foundation was “normalization,” meaning that we would allow each person to live as normal a life as possible, with normal routines rather than being defined by their disability.

St. Andrew's Church

The home where I worked was a couple of blocks away from St. Andrew’s Church.  In those days, the bell in the church steeple would sound out the hours. The liturgical hours (Matins, Lauds, Prime, Terce, Sext, None, Vespers, and Compline) were designated times of prayer throughout the day. This was a form that I was unaccustomed to, having grown up Baptist. While I worked with clients at the group home, even though those liturgical hours were unfamiliar, it was meaningful to hear the bells sound during the day. It reminded me to stop, if only briefly, to acknowledge that I was working within a larger context of meaning.

Even more than the liturgical hours in the background, the group home residents themselves gave my life a centering. More than teaching and certainly more than professional ministry, my work now seemed like real life. Teaching and ministry are both wonderful and needed professions, but my own strengths and abilities did not fully align with the tasks in either milieu. I was therefore not finding life within those structures.  At St. Andrew’s Foundation I sat on front porches and in living rooms of those group homes visiting and talking with residents who were limited in many ways, but they helped me to see more clearly what real life is about. All manner of assumptions were dispelled during those days. We were all learning each day how to better find our way in the world. They needed help with shopping, banking, household management, job training, and managing the conflict that arises just by living with other people. They were learning to have a home of their own, and I felt like I was finally home.

I would later recount, "It was at St. Andrew's that I came to realize that people who live with disabilities have something very important to say about what it means to be human. How we respond to people with disabilities says something very important about who we are as human beings." [2]
 

Nothing is constant, however. After several years of rewarding work at St. Andrew’s Foundation, I was also starting a family and needing to broaden my possibilities. To that end, I went back to my old alma mater for a degree in Nursing. My first job in the Nursing field was as a psychiatric nurse at the same hospital where I had once been a chaplain. I remember walking across the hospital grounds one evening, recalling how I had made that same walk years before as a chaplain. Back then I was thinking, “I don’t belong here.” That night, however, as I walked the grounds as a nurse, I said to myself, “This is exactly where I belong!”

Writing New Avenues and Looking Inward

I continue to make a living in healthcare, and I also continue to write. The point of sharing my sonnet is to show how the process of writing can help us to know who we really are, at least that has been true for me. My writing has taken the form of daily journals, personal letters, dream journals, essays, and poetry. The poetry that I have written over the years often has served as a kind of spiritual diary, recording where I was, what I was thinking, and how I was feeling at the time. Sometimes the writing surprises me by opening up new windows and new avenues. Sometimes the writing, as with this sonnet, helps me to see a bit more clearly how to live more congruently with my inner self and ideals.

For all who have an interest in writing, I say, by all means write! Don’t worry about whether it is “good enough.” That sonnet that I wrote all those years ago is certainly no Shakespeare or Dante, but it contained a true observation that allowed me to take a probing look within myself. Make sure that what you write is your true voice. You will probably learn more about yourself, and the writing might even save your life.

                                                                                                               Charles Kinnaird

_____

1.  From I Never Wanted Fame, by Antonio Machado (translated by Robert Bly), Ally Press (limited edition) 1979.
2. From "An Ordinary Life" at http://notdarkyet-commentary.blogspot.com/2010/11/ordinary-life.html

*    *    *    *

You may be interested in reading these related posts:

• An Ordinary Life
• Any Tree That Falls: why creative people must create

*

Margaret O'Bryan Brodnax, Teacher Extraordinaire

I came late in learning of the passing of one of my English professors, Dr. Margaret Brodnax. She died at her home  on March 30, 2013 at the age of 80.  There was a nice obituary in Samford University’s Seasons which came in the mail this week and gave me the news.  She lived a full life with academic achievement, lay leadership in the Episcopal Church, and was an early advisory board member for the Alabama Shakespeare Festival.  I knew Margaret Brodnax as one amazing teacher. She knew her topic and she kept her students engaged in the material. My first encounter with her was in a World Lit class my sophomore year and she certainly helped to make that a memorable year.

“It Was All about Sex and Jesus”

Margaret Brodnax did two things to shake up my world that semester.  The first shake up came when my first written assignment was handed back to me full of red marks. There was a “C” grade  and a note to see her after class. I went to her in shock, not accustomed to C’s, wondering what was wrong with the work I had turned in.

“For one thing,” she said, “it wasn’t written very well…” My head must have been spinning by then. “Not written very well!” I could not believe what I was hearing. The bottom line was that she wanted me to re-write the brief paper addressing all of her comments in the margins.  I think she wanted me to realize that I was just skimming the surface of the reading material, responding with some cursory answers. She wanted me to delve into the reading assignment to find the nuances of meaning and to take note of some core life issues.  After I did the re-write, she gave me a better grade, smiled and said, “That was so much better, Charles.”

The second thing she did was the astounding way she brought ancient Greek literature to life. I was a 19 year old ministerial student who had not seen much beyond my rural Baptist environment in Tallapoosa County before arriving at Samford. It seemed that with every Greek drama or myth that we studied, Dr. Brodnax brought it home to us by appealing to our adolescent hormones and our Sunday School lessons from home. I was in no small way unnerved by that. Back in the dorm I told my friends, “No matter what our reading assignment is, she relates everything to sex and Jesus!”  Years later, after I had finished grad school, traveled the world and was on my second job, I took it upon myself to read Joseph Campbell’s Masks of God series. Campbell opened up the ancient world and their grounding mythologies to explain not only their world but the heritage we have received from those ancient times. As he explained the ancient fertility rites and the spiritual concepts of our ancient forebears, it hit me: “Margaret Brodnax was right! It all comes down to sex and Jesus!”

It Was All about Being Fully Engaged in Life

Well, in my early college days, I was glad to get out of Dr. Brodnax’s class with a decent grade, but I was afraid she was a little too much for me to handle. Then came my senior year when I needed one more elective to complete my English Major. Dr. Brodnax was teaching a graduate level course on Edmund Spenser, with the bulk of the course addressing The Faerie Queene.  She granted me permission to take that graduate curriculum to be counted as a 400 level course  in order to fulfill my academic requirements. I was a little bit intimidated at first. There were only five in the class and I was I there with those graduate students! In addition, we had to actually present our term papers in class.

Throughout that course, Margaret Brodnax was nothing but supportive.  One of the texts that she wanted us to use was a specific edition of The Faerie Queene. She told me, “You don’t need to buy that one; I’ve got an old copy you can have.” The course unfolded into a wonderful experience.  My paper dealt with Sir Gawain and the Red Night, and my research actually became for me a process of spiritual enrichment.  Her final note to me written on the last page of my paper was, “I hope you enjoyed writing this as much as I enjoyed reading it.”  That was a long way from the first comment she had made back during my sophomore year. It also indicated progress that I would not have made without dedicated and engaged teaching.

That is the way she was.  Nothing was routine or matter-of-fact for her. In her classes, she did not simply impart information. She made connections with the students to bring the subject matter to life.  Literature was intensely important and she took her role as teacher very seriously. She intended to see that every student was awakened to the essence of life that was reflected in the stories we read. She wanted us all to be fully engaged in life.  Margaret O’Bryan Brodnax, teacher extraordinaire! May she rest in peace.

*

Form and Substance: How a Sonnet Saved My Life

The Sonnet

The sonnet is the most restrictive of

Poetic forms. A scheme is strictly set

Dictating poet's rhyme and rhythm, yet

He chooses it for lofty thoughts of love,

Admiring noble deeds, or saintly stuff.

Indeed, the sonnet always seems to let

Transcendence have its way so as to get

A sense of freedom. Thus we see it prove

To be the highest, freest form to whet

A true Poetic. Often when I see

The bounds within which I must find my way,

(The cold collective spreads its mindless net

And freedom seems to fade) I wish to be

A living sonnet soaring through the day.

CLK                                       2/82

The sonnet, like so many aspects of society, provides rules, structure and boundaries. We can find comfort in those boundaries we see in society. Boundaries give definition to what is expected and provide security in our roles. On the other hand, boundaries can be restricting and oppressive. We have common metaphors that speak to this paradox: “keep your hand on the plow,” “stay on track” are just as familiar as “he was chomping at the bit,” or “pulling at the traces.” Boundaries indeed offer guidance, but sometimes one must slip the traces or jump the tracks. I recently read some words from Spanish poet Antonio Machado:

Why should we call

these accidental furrows roads?

Everyone who moves on

walks like Jesus, on the sea. [1]

The sonnet above is one that I wrote when I was 28 years old. I offer it as an example of how one can be awakened by one’s own poem. At the time, I was teaching English at Hong Kong Baptist College on a two-year assignment with the Southern Baptist International Mission Board. I had graduated from seminary and had plans to go into ministry upon return to the States. During my first year back in the U.S., I was in the middle of a chaplaincy training program at a Baptist Hospital in Birmingham, Alabama. One evening I was re-reading the sonnet that I had written two years before. For some reason, I imagined myself as a 68-year-old man and a young man was reading the sonnet. The young man asked me if I ever learned how to be a living sonnet. The only honest answer I could give in that imaginary situation was, “No. I never did.”

It was at that moment that I realized I needed to get out from where I was at the time. Toward the end of my training, I was offered the opportunity for a residency as chaplain in the hospital. To the director’s surprise, I never applied for the position.

Finding New Directions

“Where will you go from here?” the Pastoral Care director asked. I had no clear answer, except that I knew I had to go away from where I was at that moment. The next year proved to be a formative year. I left the Baptists and found St. Andrew's Episcopal Church where there was a commitment to high liturgy and social service. While there, I found employment at St. Andrew’s Foundation working with adults with developmental disabilities in group home settings. The overarching ideal at St. Andrew’s Foundation was “normalization,” meaning that we would allow each person to live as normal a life as possible, with normal routines rather than being defined by their disability.

The home where I worked was a couple of blocks away from St. Andrew’s Church.  In those days, the bell in the church steeple would sound out the hours. The liturgical hours (Matins, Lauds, Prime, Terce, Sext, None, Vespers, and Compline) were designated times of prayer throughout the day. This was a form that I was unaccustomed to, having grown up Baptist. While I worked with clients at the group home, even though those liturgical hours were unfamiliar, it was meaningful to hear the bells sound during the day. It reminded me to stop, if only briefly, to acknowledge that I was working within a larger context of meaning.

Even more than the liturgical hours in the background, the group home residents themselves gave my life a centering. More than teaching and certainly more than professional ministry, my work now seemed like real life. Teaching and ministry are both wonderful and needed professions, but my own strengths and abilities did not fully align with the tasks in either milieu. I was therefore not finding life within those structures.  At St. Andrew’s Foundation I sat on front porches and in living rooms of those group homes visiting and talking with residents who were limited in many ways, but they helped me to see more clearly what real life is about. All manner of assumptions were dispelled during those days. We were all learning each day how to better find our way in the world. They needed help with shopping, banking, household management, job training, and managing the conflict that arises just by living with other people. They were learning to have a home of their own, and I felt like I was finally home.

I would later recount, "It was at St. Andrew's that I came to realize that people who live with disabilities have something very important to say about what it means to be human. How we respond to people with disabilities says something very important about who we are as human beings." [2]
 

Nothing is constant, however. After several years of rewarding work at St. Andrew’s Foundation, I was also starting a family and needing to broaden my possibilities. To that end, I went back to my old alma mater for a degree in Nursing. My first job in the Nursing field was as a psychiatric nurse at the same hospital where I had once been a chaplain. I remember walking across the hospital grounds one evening, recalling how I had made that same walk years before as a chaplain. Back then I was thinking, “I don’t belong here.” That night, however, as I walked the grounds as a nurse, I said to myself, “This is exactly where I belong!”

Writing New Avenues and Looking Inward

I continue to make a living in healthcare, and I also continue to write. The point of sharing my sonnet is to show how the process of writing can help us to know who we really are, at least that has been true for me. My writing has taken the form of daily journals, personal letters, dream journals, essays, and poetry. The poetry that I have written over the years often has served as a kind of spiritual diary, recording where I was, what I was thinking, and how I was feeling at the time. Sometimes the writing surprises me by opening up new windows and new avenues. Sometimes the writing, as with this sonnet, helps me to see a bit more clearly how to live more congruently with my inner self and ideals.

For all who have an interest in writing, I say, by all means write! Don’t worry about whether it is “good enough.” That sonnet that I wrote all those years ago is certainly no Shakespeare or Dante, but it contained a true observation that allowed me to take a probing look within myself. Make sure that what you write is your true voice. You will probably learn more about yourself, and the writing might even save your life.

                                                                                                               Charles Kinnaird

_____

1.  From I Never Wanted Fame, by Antonio Machado (translated by Robert Bly), Ally Press (limited edition) 1979.
2. From "An Ordinary Life" at http://notdarkyet-commentary.blogspot.com/2010/11/ordinary-life.html

*    *    *    *

You may be interested in reading these related posts:

• An Ordinary Life
• Any Tree That Falls: why creative people must create

*