May Sarton: Journal of a Solitude






May Sarton


Journal of a Solitude

(1973)


(extracts)



September 15th



BEGIN here. It is raining. I look out on the maple, where a few leaves have turned yellow, and listen to Punch, the parrot, talking to himself and to the rain ticking gently against the windows. I am here alone for the first time in weeks, to take up my “real” life again at last. That is what is strange—that friends, even passionate love, are not my real life unless there is time alone in which to explore and to discover what is happening or has happened. Without the interruptions, nourishing and maddening, this life would become arid. Yet I taste it fully only when I am alone here and “the house and I resume old conversations.”


On my desk, small pink roses. Strange how often the autumn roses look sad, fade quickly, frost-browned at the edges! But these are lovely, bright, singing pink. On the mantel, in the Japanese jar, two sprays of white lilies, recurved, maroon pollen on the stamens, and a branch of peony leaves turned a strange pinkish-brown. It is an elegant bouquet; shibui, the Japanese would call it. When I am alone the flowers are really seen; I can pay attention to them. They are felt as presences. Without them I would die. Why do I say that? Partly because they change before my eyes. They live and die in a few days; they keep me closely in touch with process, with growth, and also with dying. I am floated on their moments.


The ambience here is order and beauty. That is what frightens me when I am first alone again. I feel inadequate. I have made an open place, a place for meditation. What if I cannot find myself inside it ?


I think of these pages as a way of doing that. For a long time now, every meeting with another human being has been a collision. I feel too much, sense too much, am exhausted by the reverberations after even the simplest conversation. But the deep collision is and has been with my unregenerate, tormenting, and tormented self. I have written every poem, every novel, for the same purpose—to find out what I think, to know where I stand. I am unable to become what I see. I feel like an inadequate machine, a machine that breaks down at crucial moments, grinds to a dreadful halt, “won’t go,” or, even worse, explodes in some innocent person’s face.


Plant Dreaming Deep has brought me many friends of the work (and also, harder to respond to, people who think they have found in me an intimate friend). But I have begun to realize that, without my own intention, that book gives a false view. The anguish of my life here—its rages—is hardly mentioned. Now I hope to break through into the rough rocky depths, to the matrix itself. There is violence there and anger never resolved. I live alone,

perhaps for no good reason, for the reason that I am an impossible creature, set apart by a temperament I have never learned to use as it could be used, thrown off by a word, a glance, a rainy day, or one drink too many.


My need to be alone is balanced against my fear of what will happen when suddenly I enter the huge empty silence if I cannot find support there. I go up to Heaven and down to Hell in an hour, and keep alive only by imposing upon myself inexorable routines. I write too many letters and too few poems. It may be outwardly silent here but in the back of my mind is a clamor of human voices, too many needs, hopes, fears. I hardly ever sit still without being haunted by the “undone” and the “unsent.” I often feel exhausted, but it is not my work that tires (work is a rest); it is the effort of pushing away the lives and needs of others before I can come to the work with any freshness and zest.



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September 17th



CRACKING OPEN the inner world again, writing even a couple of pages, threw me back into depression, not made easier by the weather, two gloomy days of darkness and rain. I was attacked by a storm of tears, those tears that appear to be related to frustration, to buried anger, and come upon me without warning. I woke yesterday so depressed that I did not get up till after eight.


(...)



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September 18th



THE VALUE of solitude — one of its values — is, of course, that there is nothing to cushion against attacks from within, just as there is nothing to help balance at times of particular stress or depression. A few moments of desultory conversation with dear Arnold Miner, when he comes to take the trash, may calm an inner storm. But the storm, painful as it is, might have had some truth in it. So sometimes one has simply to endure a period of depression for what it may hold of illumination if one can live through it, attentive to what it exposes or demands.


The reasons for depression are not so interesting as the way one handles it, simply to stay alive. This morning I woke at four and lay awake for an hour or so in a bad state. It is raining again. I got up finally and went about the daily chores, waiting for the sense of doom to lift — and what did it was watering the house plants. Suddenly joy came back because I was fulfilling a simple need, a living one. Dusting never has this effect (and that may be why I am such a poor housekeeper!), but feeding the cats when they are hungry, giving Punch clean water, makes me suddenly feel calm and happy.


Whatever peace I know rests in the natural world, in feeling myself a part of it, even in a small way. Maybe the gaiety of the Warner family, their wisdom, comes from this, that they work close to nature all the time. As simple as that ? But it is not simple. Their life requires patient understanding, imagination, the power to endure constant adversity—the weather, for example ! To go with, not against the elements, an inexhaustible vitality summoned back each day to do the same tasks, to feed the animals, clean out barns and pens, keep that complex world alive.



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September 21st



(...) YESTERDAY before I left on the sad expedition I had looked out and seen two elderly people standing at the edge of the lawn, then walking down the hill a way and coming back, obviously in the hope I would come out. So I did. Apparently they have come more than once, lovers of Plant Dreaming Deep and of the poems. They turned out to be Charlotte and Albert Oppler, German refugees from Hitler, who landed here and later were sent to Japan under Mac-Arthur, Albert as a legal expert who helped draw up the new Japanese constitution.


Of course, they know Elizabeth Vining, whose autobiography I am reviewing for the Times these days. But why did I tell them, nearly in tears, of my depression? It is quite absurd to tell total strangers such things. I suppose I was taken by surprise like an animal in a lair. I had been writing all morning, was open from the inside out, unprepared for kindness and understanding such as they showed. Here the inner person is the outer person. It is what I want, but that does not make me any less absurd.


Found this in an old journal of mine — Humphry Trevelyan on Goethe:


“It seems that two qualities are necessary if a great artist is to remain creative to the end of a long life; he must on the one hand retain an abnormally keen awareness of life, he must never grow complacent, never be content with life, must always demand the impossible and when he cannot have it, must despair. The burden of the mystery must be with him day and night. He must be shaken by the naked truths that will not be comforted. This divine discontent, this disequilibrium, this state of inner tension is the source of artistic energy. Many lesser poets have it only in their youth; some even of the greatest lose it in middle life. Wordsworth lost the courage to despair and with it his poetic power. But more often the dynamic tensions are so powerful that they destroy the man before he reaches maturity.”


Must art come from tension ? A few months ago I was dreaming of a happy work, a whole book of poems stemming from fruitful love. Now here I am back on the rack. But perhaps this is a sign of health, not sickness. Who knows ?"



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