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a literary journal published by the Black Earth Institute dedicated to re-forging the links between art and spirit, earth and society

Karen Brennan and Cynthia Hogue


“I Don’t Really Care Do U?”

The question haunts me,

everywhere the damage caused

when we don’t care.

Remotely, someone lies bleeding.

 

Remotely, someone lies bleeding

Imaginary borders

Real people bleeding; a woman

No one helps

 

No one helps

in time. Heart,

can she be saved

from the heartless?

 

From the heartless

Cruel proclamations: we don’t really

Care. Do you? Do you care?

Can we countenance cruelty’s reign?

 

Can we countenance cruelty’s reign?

We believed the world – our world –

could hold strong with caring, loving-

kindness, but care doesn’t share a root

 

Kindness. But care doesn’t share a root

With kindness. Meaning blocked

Meaning forgone, forgotten

Meaning with caritas—the highest form

 

meaning with caritas—the highest form

of love being charity (Eliot)—

but suffering, “the sorrow-clouded

breast of Care” (Coleridge).

 

Breast of Care (Coleridge)

How one longs for it! the sorrow-clouded woman

In whose arms, another despises–

Mouths’ myriad lies render us–

 

Mouths’ myriad lies render us care-

worn, careless. We see compassion

fail, mattering alone

to the compassionate. Horror’s

 

To the compassionate horror’s

composed of a thousand horrific slogans

On a thousand designer jackets—

A swindle. No silo of protection

 

a swindle. No silo of protection.

The blue silence of our rough sorrow

scratches like bracken along a lake

as we stagger through care’s ruin.

 

As we stagger through care’s ruin

Someone is weeping

Remotely

As we stagger though care’s ruin

 

a black and white photo of a light-weight jacket laying on the grass with its back facing upwards


Toward a Dialogue about Care

I care about caring.
The Dalai Lama

 

It strikes me that without action, to care for or about is an empty sentimentalism. I don’t like to say how much I care—even if I’d like to feel I do.

As I age, the lack of the humane obsesses me,
that so many in power at every level make the choice—
for it is a choice—of cruelty and indifference
to humanity, empathy, and generosity.
I contemplate that choice. I ask why.

Care is by definition inclusive of others.
To be careless of, indifferent to others’ well-being
is a scourge on our cultural landscape.
If care is an energetic act, being careless
is not only the failure to act,
but also the choice not to feel.

For artists, “care” (with the materials of one’s art)
and carefulness (in the making of a work)
are givens. Part of being a wordsmith
is having a care for how language is used,
taking care when using language,
and taking care of the language.
Words carry energetic weight—
of meaning, intention, force.
They must not be carelessly used.

We are basically an uncaring, narcissistic people and too often our words substitute for our deeds and our tears gratify only ourselves. How sad we are for others! How wonderful we are to care! & yet. Is there a real dialogue to be had on the subject of caring when we care so little? And what might real care look like, if there is such a thing?

I believe that art can powerfully convey
a view inflected by the humane and ethical.
That poetry is a consciousness, an approach to being
that questions the pat, official, or orthodox meanings
imposed on the machinations of individuals
who never question themselves.

We aspire to be poets and educators in dialogue
with the larger culture, to address the urgent issues of our times
in language that opens up rather than shuts down,
and takes care to be precise and truthful.

Have you had that experience of discovering
a poem’s insight by following the sound of the words?

Roethke said, “I learn by going where I have to go.” “Going,” for me, is riding the wave of words—their sounds and textures– to wherever they may lead; is entering a zone where I abandon thinking and analysis in order to discover something more surprising than my conscious mind can comprehend. My creative work enlightens me.

Not long ago I was writing about a moment of profound concern
I was helpless to change. Suddenly,
the language itself gave me the insight:
that caring in itself is a curative
leading to all sorts of other actions,
in contrast to the no-impact of indifference.
The act of caring is kinetic, and in time, impactful.
Care is the cure.

 

The zone of creativity, to which I give care, is a sacred space.

And how do I show my care? How do I perform it?

The Dalai Lama says “I care about caring” and I am reminded that my compassion has blind spots.

Auden famously said “Poetry makes nothing happen,” by which he meant that it is futile to preach in a poem, that the poem or any creative product must remain free of dogma. I allow myself to go where the words take me and keep my ideas to myself.

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Do my words express my care for the world, my care for my words, my care about caring?

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Karen Brennan is the author of nine books, which include poetry, fiction and nonfiction. A recipient of a National Endowment of the Arts fellowship and an AWP Award, she is Professor Emerita of English and Creative Writing at the University of Utah. Her stories, poems and essays have been widely published in journals and magazines and have appeared in anthologies from Norton, Graywolf, Penguin, Michigan, Georgia, among others, as well as Best Small Fictions 2017 and Women’s Xxperimental Fiction. Since 1991, she has served as core faculty for The Warren Wilson MFA Program for Writers. Her most recent books are Television, a memoir (Four Way, 2022) and Rabbit in the Moon: The Mexico Stories (Schaffner Press, 2024). 

Cynthia Hogue’s ten collections of poetry include instead, it is dark (2023) and In June the Labyrinth (2017), both from Red Hen Press. She co-translated Fortino Sámano (The overflowing of the poem), from the French of Virginie Lalucq and Jean-Luc Nancy, which won the Landon Translation Award from the Academy of American Poets (Omnidawn, 2013). Among Hogue’s honors are NEA and Fulbright fellowships, and residency fellowships at the MacDowell Colony and the Anderson Center. Hogue served as the Distinguished Visiting Writer at Cornell University (2014) and the Maxine and Jonathan Marshall Chair in Modern and Contemporary Poetry at Arizona State University (2003–2018).  She lives in Tucson.

Other works by Cynthia Hogue »

Other works by Karen Brennan »


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