"Love Bade Me Welcome (Gazing Into the Abyss)" by Christian Wiman
Though I was raised in a very religious household, until about a year ago I hadn't been to church in any serious way in more than 20 years. It would be inaccurate to say that I have been indifferent to God in all that time. If I look back on the things I have written in the past two decades, it's clear to me not only how thoroughly the forms and language of Christianity have shaped my imagination, but also how deep and persistent my existential anxiety has been. I don't know whether this is all attributable to the century into which I was born, some genetic glitch, or a late reverberation of the Fall of Man. What I do know is that I have not been at ease in this world.
Poetry, for me, has always been bound up with this unease, fueled by contingency toward forms that will transcend it, as involved with silence as it is with sound. I don't have much sympathy for the Arnoldian notion of poetry replacing religion. It seems not simply quaint but dangerous to make that assumption, even implicitly, perhaps especially implicitly. I do think, though, that poetry is how religious feeling has survived in me. Partly this is because I have at times experienced in the writing of a poem some access to a power that feels greater than I am, and it seems reductive, even somehow a deep betrayal, to attribute that power merely to the unconscious or to the dynamism of language itself. But also, if I look back on the poems I've written in the past two decades, it almost seems as if the one constant is God. Or, rather, His absence.
There is a passage in the writings of Simone Weil that has long been important to me. In the passage, Weil describes two prisoners who are in solitary confinement next to each other. Between them is a stone wall. Over a period of time — and I think we have to imagine it as a very long time — they find a way to communicate using taps and scratches. The wall is what separates them, but it is also the only means they have of communicating. "It is the same with us and God," she says. "Every separation is a link."
It's probably obvious why this metaphor would appeal to me. If you never quite feel at home in your life, if being conscious means primarily being conscious of your own separation from the world and from divinity (and perhaps any sentient person after modernism has to feel these things) then any idea or image that can translate that depletion into energy, those absences into presences, is going to be powerful. And then there are those taps and scratches: what are they but language, and if language is the way we communicate with the divine, well, what kind of language is more refined and transcendent than poetry? You could almost embrace this vision of life — if, that is, there were any actual life to embrace: Weil's image for the human condition is a person in solitary confinement. There is real hope in the image, but still, in human terms, it is a bare and lonely hope.
It has taken three events, each shattering in its way, for me to recognize both the full beauty, and the final insufficiency, of Weil's image. The events are radically different, but so closely linked in time, and so inextricable from one another in their consequences, that there is an uncanny feeling of unity to them. There is definitely some wisdom in learning to see our moments of necessity and glory and tragedy not as disparate experiences but as facets of the single experience that is a life. The pity, at least for some of us, is that we cannot truly have this knowledge of life, can only feel it as some sort of abstract "wisdom," until we come very close to death.
First, necessity: four years ago, after making poetry the central purpose of my life for almost two decades, I stopped writing. Partly this was a conscious decision. I told myself that I had exhausted one way of writing, and I do think there was truth in that. The deeper truth, though, is that I myself was exhausted. To believe that being conscious means primarily being conscious of loss, to find life authentic only in the apprehension of death, is to pitch your tent at the edge of an abyss, "and when you gaze long into the abyss," Nietzsche says, "the abyss also gazes into you." I blinked.
On another level, though, the decision to stop writing wasn't mine. Whatever connection I had long experienced between word and world, whatever charge in the former I had relied on to let me feel the latter, went dead. Did I give up poetry, or was it taken from me? I'm not sure, and in any event the effect was the same: I stumbled through the months, even thrived in some ways. Indeed — and there is something almost diabolical about this common phenomenon — it sometimes seemed like my career in poetry began to flourish just as poetry died in me. I finally found a reliable publisher for my work (the work I'd written earlier, I mean), moved into a good teaching job, and then quickly left that for the editorship of Poetry. But there wasn't a scrap of excitement in any of this for me. It felt like I was watching a movie of my life rather than living it, an old silent movie, no color, no sound, no one in the audience but me.
Then I fell in love. I say it suddenly, and there was certainly an element of radical intrusion and transformation to it, but the sense I have is of color slowly aching into things, the world coming brilliantly, abradingly alive. I remember tiny Albert's Café on Elm Street in Chicago where we first met, a pastry case like a Pollock in the corner of my eye, sunlight suddenly more itself on an empty plate, a piece of silver. I think of walking together along Lake Michigan a couple of months later talking about a particular poem of Dickinson's ("A loss of something ever felt I"), clouds finding and failing to keep one form after another, the lake booming its blue into everything; of lying in bed in my highrise apartment downtown watching the little blazes in the distance that were the planes at Midway, so numerous and endless that all those safe departures and homecomings seemed a kind of secular miracle. We usually think of falling in love as being possessed by another person, and like anyone else I was completely consumed and did some daffy things. But it also felt, for the first time in my life, like I was being fully possessed by being itself. "Joy is the overflowing consciousness of reality," Weil writes, and that's what I had, a joy that was at once so overflowing that it enlarged existence, and yet so rooted in actual things that, again for the first time, that's what I began to feel: rootedness.
I don't mean to suggest that all my old anxieties were gone. There were still no poems, and this ate at me constantly. There was still no God, and the closer I came to reality, the more I longed for divinity — or, more accurately perhaps, the more divinity seemed so obviously apart of reality. I wasn't alone in this: we began to say a kind of prayer before our evening meals — jokingly at first, awkwardly, but then with intensifying seriousness and deliberation, trying to name each thing that we were thankful for, and in so doing, praise the thing we could not name. On most Sundays we would even briefly entertain — again, half-jokingly, — the idea of going to church. The very morning after we got engaged, in fact, we paused for a long time outside a church on Michigan Avenue. The service was just about to start, organ music pouring out of the wide open doors into the late May sun, and we stood there holding each other and debating whether or not to walk inside. In the end it was I who resisted.
I wish I could slow things down at this point, could linger a bit in those months after our marriage. I wish I could feel again that blissful sense of immediacy and expansiveness at once, when every moment implied another, and the future suddenly seemed to offer some counterbalance to the solitary fever I had lived in for so long. I think most writers live at some strange adjacency to experience, that they feel life most intensely in their recreation of it. For once, for me, this wasn't the case. I could not possibly have been paying closer attention to those days. Which is why I was caught so off-guard.
I got the news that I was sick on the afternoon of my 39th birthday. It took a bit of time, travel, and a series of wretched tests to get the specific diagnosis, but by then the main blow had been delivered, and that main blow is what matters. I have an incurable cancer in my blood. The disease is as rare as it is mysterious, killing some people quickly and sparing others for decades, afflicting some with all manner of miseries and disabilities and leaving others relatively healthy until the end. Of all the doctors I have seen, not one has been willing to venture even a vague prognosis.
Conventional wisdom says that tragedy will cause either extreme closeness or estrangement in a couple. We'd been married less than a year when we got the news of the cancer. It stands to reason we should have been especially vulnerable to such a blow, and in some ways love did make things much worse. If I had gotten the diagnosis some years earlier — and it seems weirdly providential that I didn't, since I had symptoms and went to several doctors about them — I'm not sure I would have reacted very strongly. It would have seemed a fatalistic confirmation of everything I had always thought about existence, and my response, I think, would have been equally fatalistic. It would have been the bearable oblivion of despair, not the unbearable, and therefore galvanizing, pain of particular grief. In those early days after the diagnosis, when we mostly just sat on the couch and cried, I alone was dying, but we were mourning very much together. And what we were mourning was not my death, exactly, but the death of the life we had imagined with each other.
Then one morning we found ourselves going to church. Found ourselves. That's exactly what it felt like, in both senses of the phrase, as if some impulse in each of us had finally been catalyzed into action, so that we were casting aside the Sunday paper and moving toward the door with barely a word between us; and as if, once inside the church, we were discovering exactly where and who we were meant to be. That first service was excruciating, in that it seemed to tear all wounds wide open, and it was profoundly comforting, in that it seemed to offer the only possible balm. What I remember of that Sunday, though, and of the Sundays that immediately followed, is less the services themselves than the walks we took afterwards, and less the specifics of the conversations we had about God, always about God, than the moments of silent, and what felt like sacred, attentiveness those conversations led to: an iron sky and the lake so calm it seemed thickened; the El blasting past with its rain of sparks and brief, lost faces; the broad leaves and white blooms of a catalpa on our street, Grace Street, and under the tree a seethe of something that was just barely still a bird, quick with life beyond its own.
I was brought up with the poisonous notion that you had to renounce love of the earth in order to receive the love of God. My experience has been just the opposite: a love of the earth and existence so overflowing that it implied, or included, or even absolutely demanded, God. Love did not deliver me from the earth, but into it. And by some miracle I do not find that this experience is crushed or even lessened by the knowledge that, in all likelihood, I will be leaving the earth sooner than I had thought. Quite the contrary, I find life thriving in me, and not in an aestheticizing Death-is-the-mother-of-beauty sort of way either, for what extreme grief has given me is the very thing it seemed at first to obliterate: a sense of life beyond the moment, a sense of hope. This is not simply hope for my own life, though I do have that. It is not a hope for heaven or any sort of explainable afterlife, unless by those things one means simply the ghost of wholeness that our inborn sense of brokenness creates and sustains, some ultimate love that our truest temporal ones goad us toward. This I do believe in, and by this I live, in what the apostle Paul called "hope toward God."
"It is necessary to have had a revelation of reality through joy," Weil writes, "in order to find reality through suffering." This is certainly true to my own experience. I was not wrong all those years to believe that suffering is at the very center of our existence, and that there can be no untranquilized life that does not fully confront this fact. The mistake lay in thinking grief the means of confrontation, rather than love. To come to this realization is not to be suddenly "at ease in the world." I don't really think it's possible for humans to be at the same time conscious and comfortable. Though we may be moved by nature to thoughts of grace, though art can tease our minds toward eternity and love's abundance make us dream a love that does not end, these intuitions come only through the earth, and the earth we know only in passing, and only by passing. I would qualify Weil's statement somewhat, then, by saying that reality, be it of this world or another, is not something one finds and then retains for good. It must be newly discovered daily, and newly lost.
So now I bow my head and try to pray in the mornings, not because I don't doubt the reality of what I have experienced, but because I do, and with an intensity that, because to once feel the presence of God is to feel His absence all the more acutely, is actually more anguishing and difficult than any "existential anxiety" I have ever known. I go to church on Sundays, not to dispel this doubt but to expend its energy, because faith is not a state of mind but an action in the world, a movement toward the world. How charged this one hour of the week is for me, and how I cherish it, though not one whit more than the hours I have with my wife, with friends, or in solitude, trying to learn how to inhabit time so completely that there might be no distinction between life and belief, attention and devotion. And out of all these efforts at faith and love, out of my own inevitable failures at both, I have begun to write poems again. But the language I have now to call on God is not only language, and the wall on which I make my taps and scratches is no longer a cell but this whole prodigal and all too perishable world in which I find myself, very much alive, and not at all alone. As I approach the first anniversary of my diagnosis, as I approach whatever pain is ahead of me, I am trying to get as close to this wall as possible. And I am listening with all I am.
This essay first appeared in Christian Wiman's book of essays Ambition and Survival: Becoming a Poet and was reprinted with permission of the author and publisher.