A Children’s Book . . . Reimagined

I was probably three or four years old when my mother gave me this little book by Margaret Wise Brown, published in 1952, the year after I was born. As a physical object the book is a delight–small, slim, sturdy, the cover boards measure 5 ½″ x 5″ with the width slightly greater than the height, giving the book its appropriately horizontal feel. The illustrations, by Barbara Cooney, in black, white & red, fill the double fold of the open book, with the text always on the right. The illustrations combine a certain naturalism with a tightly controlled whimsy.1

 

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The structure of the book is perhaps the most common in children’s poetry over the last 100 years or so: The poet begins with a formal structure, often, as here, a question & answer pattern, simple rhymes with frequent repetition. In Where Have You Been? the title sets the motif: Someone is asking first one animal & then another the title’s question–Where have you been? The rhetorical payoff or punchline of each stanza is the witty reply of the animal being interrogated.

 

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Little Old Cat
Little Old Cat
Where have you been?
To see this and that
Said the Little Old Cat
That’s where I’ve been.

The typographical convention here is clearly maximum capitalization & minimum punctuation. The lines are broken at grammatical junctures emphasized by rhyme, sometimes identical rhyme, though as it turns out this leaves room for a fair amount of variation from section to section. Thus:

Little Old Fish
Little Old Fish
Where do you swim?
Wherever I wish
Said the Little Old Fish
That’s where I swim.

And one more example, with a slight variation, from Where Have You Been? In this stanza, the question shifts from the empirical to the metaphysical:

Little Old Mouse
Little Old Mouse
Why run down the clock?
To see if the tick
Comes after the tock
I run down the clock.

There is one other stanza in the book that makes use of this kind of grammatical shift. It was that opening to the metaphysical–from where to why–that gave me the idea of writing a few of my own stanzas, using Brown’s poetic structure & rhetoric. Mine are darker.

Little Old Man
Why do you run?
I’m just about done
You can put down the phone
Said the Little Old Man
That’s why I run.

Little Old Rat
Little Old Rat
Where have you been?
I’ve been under my hat
Said the Little Old Rat
That’s where I’ve been.

Little Old Man
Little Old Man
Where were you
When the shit hit the fan?
I was right here with you
When the shit hit the fan.

Little Old Flea
Little Old Flea
What do you see?
I have been out to sea
Said the Little Old Flea
To bring you This Disease.

Little Old Man
Little Old Man
Where have you been?
Why do you flee?
I have been out with the flea
Sailing over the sea.

I don’t make any great claims for this little piece. I’ve always admired the rhetorical stance that adopts children’s language & vocabulary, recasting it for adult purposes.2 Or maybe I felt the need to drop the attitude of The Good Cancer Patient for a little while & simply indulge in some dark play. In fact, I think that is mostly what I have been doing.

I understand the connection between mind & body in cancer treatment, including the need to focus the mind on what is good & useful; no doctor, though, would deny the existence of bleak moods & it seems to me that my poetic exercise incorporates this kind of bleakness into a larger creative act. Poetry, even as the highest art, can have therapeutic value even when that is not the motivation of poet or poem. Used consciously as therapy–though that only dawned on me gradually–making this sort of poem must be an act of healing. This has been a pretty rotten day, actually. I had to spend the time & energy to go to the hospital for another MRI scan, a procedure that, while necessary, does not foster peace of mind. But because I came home & worked on a collage for a while, then rested & ate, then took up this little essay, I feel fairly peaceful, though not without a trickle of anxiety. Well, poetry isn’t magical, is it?

Show 2 footnotes

  1. To my way of thinking, whimsy is always best when tightly controlled.
  2. cf. Elizabeth Bishop’s “Visits to St. Elizabeths.”

Afternoon Phenomenology

Aware of sunshine, trees, drifting clouds through window on my right. Sitting at computer. Hand on mouse. Doing something or going somewhere online. focused attention. Eyes close. Instantly inside a dream narrative that has the feel of having been going on for a while, though not always (so far as I can tell) the same narrative. Defuse attention. How long? A few seconds to a minute best estimate. Wake up. Dream narrative unavailable to consciousness. I can do this many times over the course of an afternoon hour. The affective color of this experience–conscious & unconscious parts taken together–is neutral to mildly pleasant.

Note: About ten years ago, while taking a prescribed sleep drug, I had a couple of frightening, anxiety-inducing experiences in which I felt myself to be simultaneously asleep & awake. That is, I was doing something in waking life while at the same time doing something else entirely unrelated in a dream or dream-like state of mind. (These experiences took place during the daytime, when the zolpidem was supposed to have cleared my system.) The “double exposures” had a dark, negative affect, even long after they had passed & I was merely recalling them.

Transcendentalism?

William James, From Varieties of Religious Experience:

“I accept the universe” is reported to have been a favorite utterance of our New England transcendentalist, Margaret Fuller; and when some one repeated this phrase to Thomas Carlyle, his sardonic comment is said to have been: “Gad! she’d better!”