WITHIN A SHIFTING FOCUS
by Jnana Hodson
Envisioning a grouping of my poems under the umbrella of Exposure, I initially drew on the photographic sense of admitting light to a sensitized film or plate, and then watching the image take form and density in stages on white paper in the developing bath in the darkroom – admittedly, now, obsolete practices, supplanted by the much less technically demanding use of digital cameras. (With all of its own advance technical dimensions.)
The title survived even though the contents kept shifting until settling on what now appears in the middle section of my collected Ripples in a Bejeweled Prayer Flag.
At first, this was to be a set of micropoems – brief, flickering revelations akin to snapshots – especially of the kind my Uncle John Orr calls “mockery photography.” Or, better yet, multiple exposures, with their overlapping actions. But those works scuttled elsewhere, where they’ve seemed to fit better.
In their place came Treated for Exposure, a grouping of pieces originating in wilderness encounters. In the backcountry, individuals who are caught unprepared in sharp downturns of the weather may require rescue and even hospitalization, where they are reported being “treated for exposure” – dehydration, hypothermia, frostbite, and the like. Again, those works drifted elsewhere, where they seemed to fit better.
What remained was a sequence of tenacious afterimages leading to a third route, though still not the final round.
Like most Americans today, my exposure to the outdoors, much less wilderness, has come in flashes – an hour or two, a day or even a week, typically chosen for fair conditions or else domestic tasks, such as weeding, mowing the grass, or shoveling snow. (As for “unfair” conditions, the lessons can be harsh and unforgettable, yet opening lessons of essential understanding – life is fragile, after all, and above all else, keep dry or get dry, quickly. I must wonder how many who have faced death in these situations return to the trail with a deepened sense of awe and respect, as well as caution.) Once again, in the end, the exposure is fleeting, caught in a flash of time and incomplete observation – something transformed or vanished in the flick of an eyelid. Even so, it is possible to approach these experiences as a pilgrim, acknowledging there is much to absorb here, as well as profound renewal and revival. A sense of humility helps, as well, for even skilled outdoorsmen find a wrong turn can become life-threatening. We come back to what is essential and timeless. In the rush of modern society, I require grounding and rooting, which these ageless places give back to me.
In a leap, this led to an exploration of something I thought I’d avoided – poems about poetry and poets. Generally, I’ve long had an aversion to art about art: movies about musicians or writers (or, worse yet, university English departments), and the closer they get to their own field, the more incestuous the practice commonly feels. Yet there are marvelous exceptions, leading me to question my original premise. Perhaps it arises in the newsroom dictum of getting as far out into the field as possible to get the best story: out on the street, where a council vote has impact, rather than in City Hall or the Mayor’s office, for instance, or out into the battlefront rather than safely ensconced in the Pentagon. (Admittedly, yes, after decades as a journalist, I have written that newsroom novel, my Hometown News.) Perhaps it is also a recognition and desire that writers speak to and with a larger audience or readership than other writers only. And it is definitely with an awareness that artists are not a special class of Genius, one needing apology or explanation or reverence as some type of Holy Order, at that. Ultimately, art is what we do, like prayer, regardless of the outcome or our reasons.
Like prayer, our practice embodies a host of assumptions and approaches: pages from a Book of Common Prayer, at one end, to the wordless Pentecostal outpouring of glossolalia, often called (erroneously) “praying in tongues,” at the other. It can give voice as communion, adoration, thanksgiving, confession, supplication, or intercession – and more, to say nothing of the range of our individual vocabulary, concepts, and situations. Such as sex.
In a leap, too, a dual awareness arises. The act of allowing the Other to expose its secrets to us – whether as a backcountry trail to a mountaintop, a lover, or the Divine – also demands that we also become vulnerable. We, too, are exposed, often unintentionally, in our strengths and weaknesses, our virtues and sins, our pride and shame. In this state of exposure, we are permitted to observe as long as we ourselves are being observed. The photographer enters the picture; the poet, no matter how carefully concealed, still enters the poem. The musician becomes the music. Truth demands honesty that can be painful and healing.
I think of my poems that arise from experiences while spending a week in a cabin in the Maine woods to twists in particular trails in Ohio, Indiana, Maryland, or Pennsylvania; the Florida Everglades; the Cascade Range of Washington state and northern California; or the Appalachian foothills of upstate New York or southern New Hampshire. Others, from family or lovers or friends and coworkers.
In the end, then, we, too, may be treated for exposure. Treated, but not tricked.
For the moment, let’s toy with the scarab – the beautiful jewel or the moving beetle. One, to my mind, will point to the other.
For these poems and more, visit Thistle/Flinch editions.