Reading a Poem by Rudolph Lewis at Winter Solstice
Good readings are sometimes governed by iconoclasm, the
smashing of established gestures of decoding. A reader just walks out of
the prison built by guardians of culture; she or he discards mindcuffs and
explores; he or she discovers the wilderness is more intellectual than the
glacial chambers in palaces of wisdom, the prisons of correctness.
Despite probable errors of misreading, the reader’s sense of being independent
is rewarding.
When I first read the typescript of Rudolph Lewis’s
Mockingbirds at Jerusalem ,
I felt that I was discovering traces of unbridled creativity. The most
important features of his craft and craftsmanship were derived from paying more
attention to life rhythms than to treatises on prosody and monographs on how to
write a poem. The bane of much contemporary poetry is disingenuous
professionalism. What does it profit a poet to achieve technical brilliance
without fire? Lewis has mastered fire and artistry.
After reading the published version of Mockingbirds at Jerusalem ( Pikesville ,
MD : Black Academy Press, 2014), I
have rediscovered “Defying Raging Night,” one of several touchstones in the
book. Lewis has the discipline needed to write such fresh, engaging
villanelles as “The Thrill Is Gone: A Blues Villanelle” and “Get Up Dead Man:
Blues Villanelle #2.” I am attracted more, however, his playing a riff on
the formality of the villanelle by invoking the blues in “Defying Raging
Night.” The poem is a defiant tribute to Dylan Thomas’s masterpiece “Do
Not Go Gentle Into That Good Night,” a tribute that confirms the rightness of
Thomas’s general imperatives to resist the inevitable by displacing them with
specific, burning recognitions from African American blues ethos. Thomas inspires.
Lewis empowers. Lewis demonstrates that fixed poetic structures can be
unfixed to one’s advantage.
Lewis’s achievement in this poem depends on cultural
literacy, a reader’s ability to grasp allusions: “in ancient cypress swamps”
---James Weldon Johnson; “ringing insect sounds affirmed” ---Richard Wright;
“I’ve known black wonders”---Langston Hughes. Place names evoke knowledge of
African geography and scenes of ethnic language creation as well as
genocide—Bukavu, Lake Kivu , Goma, Grand
Marché, and Kongo. A genuine reading of “Defying Raging Night” absorbs a
reader, uniting her or him with the lyric persona as a Middle Passage survivor
who can know “black wonder soothing enough to/write letters in hope of a
Mockingbird spring.”
The poems in Mockingbirds at Jerusalem
are aesthetic tools for building something positive and as yet unknown during
winter in America .
Read. Use the tools Rudolph Lewis has given us to increase our collective
ability to resist ignorant armies that clash in raging night. Read. Build
critical independence.
Jerry W. Ward, Jr.
December 21, 2014
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