Shipwreck

IT tossed and tossed,—
A little brig I knew,—
O’ertook by blast,
It spun and spun,
And groped delirious, for morn.

It slipped and slipped,
As one that drunken stepped;
Its white foot tripped,
Then dropped from sight.

Ah, brig, good-night
To crew and you;
The ocean’s heart too smooth, too blue,
To break for you.

~Emily Dickinson

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Dickinson’s oeuvre is full of shipwreck poems. A ship is always a good metaphor, and she uses them frequently. So, November is shipwreck month here at The Emily Project. This is the season of hurricanes and storms. Last night, the wind rose and knocked everything about the yard. It was a veritable tempest for Halloween night.

In this poem, the storm has overwhelmed the ship that seems “drunk” and “delirious” from its battle with the waves. The last stanza is where Dickinson really gets to the meat of this poem–the ocean (nature? the divine??) doesn’t really care about any of us. We are insignificant, in the grand scheme of things. Yet that hasn’t stopped the speaker from valuing the little craft and its crew, their struggles on the deep. The meaning we find in our lives is meaning we make for ourselves, not anything conferred upon us from without. The universe may not note or care what we do, but we can value human effort and struggle, and feel for those who are lost.

Infinite to venture

Finite to fail, but infinite to venture.
For the one ship that struts the shore
Many’s the gallant, overwhelmed creature
Nodding in navies nevermore.

~Emily Dickinson

I love this one. The opening line is perfection–it perfectly captures something fundamental about human nature. We are made to try. The rest of the poem serves as a commentary and qualifier of this epigrammatic opening. For each individual success, there are whole navies of failures.

I just spent WAY too much time tracking down this column I chanced across yesterday, so I’m calling it quits for now and leaving you with that. Go out there and fail like a champ!

Two swimmers

Two swimmers wrestled on the spar
Until the morning sun,
When one turned smiling to the land.
O God, the other one!

The stray ships passing spied a face Upon the waters borne,
With eyes in death still begging raised,
And hands beseeching thrown.

~Emily Dickinson

Maybe I’ve been watching too much BBC lately, but this sounds like a murder to me. I haven’t found any reference to this yet, but the image of the swimmers wrestling on the spar, with one succeeding and surviving, the other drowning, is suggestive.

It’s also curious the way the speaker inserts herself as observer. The broken exclamation, “O God, the other one!” sounds as if she is somehow watching the drama unfold, if only in her very vivid imagination.

The poem also reads like a riddle. Who or what do the two swimmers represent? What do you think?

Take your power in your hand!

LIX
I took my power in my hand
And went against the world;
’T was not so much as David had,
But I was twice as bold.


I aimed my pebble, but myself
Was all the one that fell.
Was it Goliath was too large,
Or only I too small?

~Emily dickinson

Pam: April is making me feel like the speaker in this poem.

Brenna: SAME. April is already kicking my tail and it’s only ten days old.

Pam: Trying to do big things, being thwarted because in the end, I am too small. Remember when we thought March would be better than February??

Brenna: We were so young and innocent….

Pam: It makes me wonder if I’ll look as these months as Goliaths later in life.

Brenna: They feel like Goliaths to me now. But maybe the actual Goliath is lurking around the corner. That’s a depressing thought.

Pam: No no no, we’re only looking at current Goliaths!

Brenna: Ok, good! So. What are we to make of this poem? Is it a cautionary tale? I know it ends with her failure, but I’m kind of in love with those first couple lines. I want to take my power in my hand. That sounds like some serious magical badassery.

Pam: I think we can look at it two ways. Sure, it’s a failure. But do you stop at failure? Why write the poem, then? Maybe the speaker is trying to dissect this failure so that next time, they’ll have a different result.

Brenna: Ah, I like that! Why tell the tale of your failure if not for some greater purpose?

Pam: It’s too bold in the beginning for me to think that this is just about failure. Somebody who is taking power in their hand is not going to give up. Or at least, that’s my hope.

Brenna: So maybe she’s encouraging us. Even someone as small as herself (there’s Lil’ Emily again….) can defy a giant, so we can too!

Pam: Why is she always diminutive, do you think?

Brenna: It strikes me as a little weird. Did women value being small back then? I thought the ideal was statuesque. Is she being purposefully different? Going against the grain? Or highlighting how small she feels?

Pam: It seems like the kind of petty thing I would do if someone called me small. “You think I’m small? I’ll show you what small can do!” You knew this was coming, but the rhymes in this poem are interesting!

Brenna: Tell me more!

Pam: They’re close, but a little bit slanty, in stanza one. Hand/had, world/bold. And then stanza two blows it up a little bit! fell/small, sure. It’s slant, but it works. But myself/large? In no way does this even begin to rhyme! Is this meant to show us how very large she is not? The rhyme in that stanza is disjointed, and I’m wondering what, if anything, it has to tell us.

Brenna: She is feeling disjointed/small in comparison to the world?

Pam: Her rhyme is tighter when she’s about to act. She’s gathering power, slinging it. The rhyme comes undone after, when she’s lost

Brenna: Ooooh, that’s good! Yes! Just like the slingshot!

Pam: Yes! We are on it today. This is what I love about poetry. Everybody brings life experience to the table, and you can still choose to not accept the poem at face value. We choose to read this poem not about failure, but about talking yourself up for another try!

To fail with land in sight

It might be easier

To fail with land in sight,

Than gain my blue peninsula

To perish of delight. ~Emily Dickinson


Brenna here–this one’s going to be more of a personal reaction, because I have failure and blue peninsulas on the brain.

As a writer who’s been querying various novels for a decade now, I feel like I’m getting closer and closer to success. I’ve gone from rejections that critique my plotting to rejections that essentially say, “It’s not you, it’s me”–my craft is solid, but a particular agent just isn’t in love with my book enough to take it on, or that agent already has something similar, or the YA market is flooded. I feel like I’m getting closer–but you can infinitely halve the distance between two points and never truly have them meet. So I don’t know if I’m close enough.

Failure terrifies me. I am afraid of pouring myself into stories that no one will ever read, afraid that the time I’m writing (and thus not doing anything else) will not pay off in the writing career I dream of. I hit a low point this past November after a three-rejection week–a novel rejection, a short story rejection, and a grant rejection. The dark night of the soul got so dark that it ceased to be a night and was more like a fortnight. It took me a while to dig my way out of the pit.

It was such a rotten time, in fact, that it prompted me to allow myself one day of despair per month. That way I can keep the angst contained. So far, so good. When I get a rejection, I tell myself that I can get bent out of shape about it and rail against fate as soon as despair-day comes, and not a moment sooner. I have tricked myself pretty effectively, I think.

But every once in a great while, I imagine the seemingly impossible happening. What if I don’t fail? What if I (gasp) succeed?

This possibility can be just as terrifying. After all, success is counted sweetest, as the poet says, by those who never attain it. To succeed means to have made it, to have attained the rarefied stratosphere of the great and successful and brilliant and amazing–but the thing we get may not be quite as sweet as we imagined it to be, and at least half the fun of anything is in the anticipation.

But Dickinson here isn’t talking about sweetness–she’s talking about  ease. It’s easier to fail.

Well, she and I might have to have it out about that one at a later date–but I see what she’s getting at. Giving up is the only way to truly fail–as long as you haven’t given up, you’re trying, not failing. And giving up is wildly easier than persevering.

With this poem, though, I get a bit hung up on the qualifier–failing “with land in sight.” That doesn’t seem easy. That seems horrible. You’re within sight of the promised land and you give up then? Who does that?? Someone who’s afraid of succeeding. And a lot of us, I think, are conditioned to think that we don’t deserve success. As a woman, wife, and mother, I feel a bit like a carnivorous unicorn when I start talking about ambition–are moms supposed to even have ambitions? Maybe to take over the PTA, but certainly not pretensions to literary greatness or anything highfalutin’ like that. Fortunately, one of the gorgeous things about hitting your 40s is that you suddenly cease to care whether people are looking at you as if you are a meat-eating unicorn, and you just bare your teeth and flash your horn and smile. Still, being over 40 does not make failing easier. If anything, it makes it harder. Some days it feels like time is loudly ticking.

I keep reminding myself that every time I hear of a writer “making it,” becoming “an overnight success,” that writer has worked for years to become an overnight success.

Nights can be very, very long.

~Brenna