Morrissey & McGee

At Cote des Neiges Cemetery, a cold day in late March at McGee's mausoleum. Here's the heart someone left hanging on the door to McGee's mausoleum, still there months later...

Notes on Voice in Poetry

                      

The discovery of a poet’s voice brings an authenticity to the poet’s work, that the poet’s voice communicates the content of the poem as well as the poet’s inner being, his or her soul. Voice in poetry is the expression of the soul.

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It isn’t the sound of your voice or how well you read a poem out loud that is voice. It isn’t a poem for several voices. It isn’t slam poetry or performance poetry. It’s the essence of who you are as it is expressed in the way you write, your own original distinctive individual voice.

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Voice in poetry, to be authentic, must be true to the self of the poet, to the inner, subjective, self-perception of the poet. The voice has to be authentic and true to the poet’s inner perception. Voice has to be an expression of the authentic self, not the self covered over with falsehood and conceit.

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The point is to discover one’s voice, and then you continue writing and voice changes in what one writes, but the discovery of one’s authentic voice is a border one needs to cross in order to write the work that follows, work that one can stand behind, that gives one the self-assurance to expresses one’s vision. 

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Voice is a vehicle for the content of poetry, but it is also inseparable from poetry; content expands when an authentic voice is discovered. Voice is not style, style changes but voice is the expression of the inner, psychological dimension of the poet; voice is the expression of psyche. The expression of voice changes just as our actual voice changes with age, but once an authentic voice is discovered then voice will remain authentic to the poet, no matter what the poet is saying.

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There is no way to find one’s voice, it must be discovered by the poet, but not all poets find their voice in poetry; however, after voice is discovered the person writing poems is a real poet, not someone who also happens to write poems. If someone who writes poems never finds his voice, he is not a poet. How can he be when writing poetry is predicated on writing from an authentic voice? This does not diminish what a poet writes before the discovery of voice, in some way voice might exist as a precursor to the discovery of the poet’s authentic voice, or at least the reader can see the potential for the birth of voice in the early work.

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First, you have to be born a poet and realize you are a poet by writing poetry, then you have to put in your 10,000 hours of apprenticeship. There’s nothing romantic or fun about it. It’s a lot of hard work to be a poet and as you get older it gets harder and harder, not because of writing poems but because of all the pother work that comes with writing and building a body of work; for instance, organizing and placing your archives, working on your selected poems, writing criticism, keeping up correspondence, managing what you have created a lifetime building, and so on.

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Voice is the expression of the poet’s integrity as a poet. Voice is the expression of the poet’s character, sensibility, and integrity as a human being. This is why it has such importance to poets.

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Discovering one’s voice does not disqualify or negate what the poet wrote before this discovery, but it is a signifier of the poet’s maturity as a poet. 

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Voice is when we speak from the heart, from the soul, without pretention or affectation, but honestly without censoring ourselves, with only one conviction, to be true to our inner necessity, to what we have to say (not what we want to say or should say, or think we should say) but abandoning these things of the self, to speak from the real and authentic self, not the layers of self, but from the heart, with honesty, and from the soul.

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The genesis of both the content of the work and the voice expressing the work are simultaneous, they can’t be separated. They are the same process. The work is written in the voice as the voice is discovered and as the work is written.

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Voice in poetry is not one’s “style” of writing; style may be narrative, minimal, visual poetry, or what have you. Voice is access to psyche from which poems are written. If a poet hasn’t discovered his “voice” he hasn’t become a poet.

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A poet can’t “search for a voice”, but all poets need to find their voice. Voice comes to the poet, it isn’t something you can “find”. Voice is the expression of the poet’s psyche, the congruence of events that allow the poem to authentically express the inner, spiritual and psychological, being of the poet.

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God bless you, Mr. McGee: Thomas D'Arcy McGee, 1813-1868 (two)

These photographs were taken last November 2012 (I'll be at McGee's mausoleum today); this is the 145th anniversary of the assasination of Thomas D'Arcy McGee, one of the fathers of Canadian confederation and someone, more than most others, who helped form our idea of modern Canada. His vision was of a tolerant and welcoming country, a place where people would leave behind the prejudices of the countries from which they came.

Above, a plaster heart someone made and left hanging on the door to McGee's mausoleum. He has become a folk hero and his life mythologized.

God bless you, Mr. McGee: Thomas D'Arcy McGee, 1813-1868 (one of two)

 

I am not the only one who visits Thomas D'Arcy McGee's mausoleum at Cote des Neiges Cemetery. I pay my respects to McGee several times a year with these visits and I often find flowers or other mementoes of other people's visits. He is one of the true folk heroes of Canadian history, assasinated in Ottawa on April 7, 1868 as he returned to his reesidence after addressing Parliament. The anniversary of the 145th year since his death is tomorrow.

Review of Robert Johnson's Balancing Heaven and Earth

Review of Balancing Heaven and Earth 

by Robert Johnson, with Jerry M. Ruhl. 

1998: Harper Collins, New York. 307 pages

By Stephen Morrissey

Robert Johnson's Balancing Heaven and Earth is a memoir and celebration of the inner life, the world of dreams, active imagination, and mystical vision. Johnson writes, "I sometimes wonder if all suffering is a vision of God too great to bear." It is suffering that led Johnson to the inner life. As a result of a car accident at age eleven Johnson's leg had to be amputated below the knee. The injury was further complicated with gangrene and a second operation; this health crisis resulted in a near-death experience in which Johnson had a "vision of the glory of paradise." A second mystical experience at age sixteen, returned Johnson to what he called the "Golden World." These early mystical experiences brought Johnson to the dilemma that has preoccupied much of his life and is the concern of this memoir: Johnson asks, "How does one continue to live on the face of the earth when he or she is blinded and spoiled for anything else?"

Johnson quotes C.G. Jung who wrote that "the earthly world and the Golden World are two faces of one reality." For most people the first half of life demands making one's way in the world, finding a career, having a relationship, building a family. However, as a young man, Johnson's concern was only partly in that direction. At that time Johnson found mentors who contributed to his inner growth. He also found the world-renowned spiritual teacher J. Krishnamurti. Johnson moved to Ojai, California which was for many years Krishnamurti's base in the United States. But eventually it became clear to Johnson that Krishnamurti was not the spiritual teacher he needed. Krishnamurti further awakened the "alchemical gold", the soul, in Johnson, but he did not offer any guidance as to how to reclaim the inner gold.

While the universe may appear to be random and meaningless, for Johnson it is held together by a superior intelligence. For Robert Johnson there are "golden threads", a kind of connective tissue linking one experience to the next; indeed, "golden threads" may be perceived as synchronistic events. Another way alchemical gold can be experienced is through dream analysis and active imagination. Johnson writes that dreams have an intelligence and wisdom that awaits discovery:

...dreams are the speech of God and that to refuse them is to refuse God... Dreams are highly curative and affirming... you can dialogue (with dreams) and use them to inform your life.

At a time of inner turmoil a dream informed Johnson that he needed something other than what Krishnamurti could offer. He then entered analysis in Los Angeles. By coincidence the analyst Johnson found to be his therapist had been a student of Carl Jung. "How do you learn psychology?" Johnson once asked his analyst, Dr. Kunkel. Johnson says that he provided a wonderful answer:

...dreams are the speech of God and that to refuse them is to refuse God... Dreams are highly curative and affirming... you can dialogue (with dreams) and use them to inform your life.

There are three ways: one way is o read all the ancient Greek mythology, because it is all right there. A second way is to read the collected works of Carl Jung. And the third way is to wait and watch-that is really the best way.

Despite Johnson's later training as a Jungian analyst, the third way of waiting and watching most closely approximates how Johnson learned psychology, illuminating for Johnson that psychology deals with the human soul.

By the fall of 1948 Johnson, while a tourist in Europe, decided to enroll at the C.G. Jung Institute in Zurich in order to study to become an analyst. It would be splendid if life were a straight line of conscious rational decisions resulting in our arrival at a certain preconceived destination. "But the truth is," Johnson writes, "that a slender thread, not any rational plan, led me to Jung's door...About the only virtue I can claim is that I didn't get in the way when destiny called."

During this time of study, Johnson had a life-changing meeting with the great Dr. Jung himself, when Jung analysed one of Johnson's dreams. The dream and Jung's interpretation are recounted in Johnson's memoir, but Carl Jung's advice (although it was presented more as a command!) was essentially that Johnson should not join organizations and that he should respect the solitude he required for individuation. Again, this is the dilemma around which Johnson centres his memoir: to be in the world, but not feeling fully of the world. He writes,

I speak and write of two worlds, when in fact the two are one. To everyday consciousness, however, there is a veil between the Golden World and the earthly world.

And later,

I now understand that the most profound religious life is found by being in the world yet in each moment doing our best to align ourselves with heaven, with the will of God.

Many of us have read Johnson's other books, including He: Understanding Masculine Psychology; She: Understanding Feminine Psychology; and We: Understanding the Psychology of Romanic Love. They are short, insightful works exploring the nature of being a man, woman, or a couple, using Jungian terminology, archetypes, and mythology. Johnson's memoir doesn't explain the writing of these books, but he does say that the income from them has allowed him to visit India many times. His visits to India have been profound and highly significant for him. It was on his first visit to India that he experienced a third mystical experience, a joyous experience of transformation.

It was only after living in India during my fifties and being among others of a similar temperament that I gained insight and courage enough so that I could come back to America and live an introverted, feeling life without continually bearing a sense of inadequacy.

India, writes Johnson, was a "feast of feeling and relatedness." The western world's emphasis on thinking and sensation has resulted in great scientific advances, but at the price of feeling and intuition. Johnson writes, "America is, collectively speaking, an extroverted culture that prizes rational thought above all else and values people accordingly." Only in India could there be the custom of approaching a stranger and asking that person to be "the incarnation of God," as Johnson did while visiting Calcutta (Kali's city).

Johnson describes being overwhelmed by the poverty and suffering he found in this city, and falling into a profound depression. After pouring out his heart to a complete stranger, an Indian gentleman who accepted to perform the role of being an "incarnation of God" for Johnson, Johnson discovered that he had spoken to a man who was also one of the few Roman Catholic priests in Calcutta. This is a synchronistic experience, a golden thread imbuing life with meaning and epiphany.

As one would expect, there are many anecdotes in this memoir, always with the effect of returning us to the importance of the inner world. The resolution of life's contradictions lies in becoming more conscious, and this sometimes requires the ritualization of the mundane; Johnson describes how a broken clock that was unceremoniously discarded was later retrieved from the garbage. Alone, he made a ceremony of burying the clock, a ritual during which he remembered with fondness the many events the lock awoke him for, including leaving for Europe, visiting Dr. Jung at him home, and so on.

Balancing Heaven and Earth is a highly readable and inspiring book. Robert Johnson is a man of depth and profound insight and the reader cannot help but be rewarded by reading his memoir. Indeed, this important book has the effect of helping to remind the reader of the alchemical gold residing in each of us. Johnson is man of spirituality, who uses Jungian terminology for its convenience and accuracy at describing the inner world, while in fact being himself a mystic.

This book belongs beside C.G. Jung's Memories, Dreams, Reflections ; it will greatly reward the reader with its inspiration, instruction, and insight.

Published: The Newsletter of the C.G. Jung Society of Montreal

Shaman art at the MMFA (4)

Shaman art at the MMFA (3)

Shaman art at the Montreal Museum of Fine Arts (2)

Norval Morrisseau at the new wing of the MMFA

Norval Morrisseau is an artist who interests me; he is a visionary and shamanistic artist. 

Other photos: here we are at the new wing of the MMFA:

 

Home of Thomas Sydney Morrisey on Cedar Avenue, Westmount

Thomas Sydney (T.S.) Morrisey, Darrell Morrisey's older brother, lived most of his life within walking distance of his family home at 85 Church Hill Avenue, in Westmount, Quebec. Morrisey is a true war hero, he has a distinguished military career which includes spending part of World War One in Siberia. He was also a family man. These are photographs of Morrisey's home at 3275 Cedar Avenue, in Westmount, Quebec. Morrisey phoned my mother in the early 1940s regarding Morrisey family history, but we are not related to his family. Photos taken fall 2012.

Revised: 03 July 2018

Darrell Morrisey on Church Hill Avenue

May 2011

Fall 2012

    

Here is where Darrell Morrisey grew up, at 85 Church Hill Avenue in Westmount, Quebec, as it looks today. Darrell is one of the forgotten or "lost" members or of the Beaver Hall group of Montreal artists. Regrettably, none of her art seems to have survived since her death in the 1930. 

Revised: 03 July 2018

Here is a link to my essay on Darrell Morrisey, https://archive.org/details/DARRELLMORRISEYAForgottenBeaverHallArtistByStephenMorrissey

Revised: 18 January 2023

Shaman art at the Montreal Museum of Fine Arts

F.R. Scott's family grave at Mount Royal Cemetary

a view from the 11th floor of the Delta Hotel in Montreal

Lost, found, missing... (six)

preparations for a wedding

A "lost" poem by Nellie McClung on bill bissett