Last week, on the night of my birthday, I dreamed that my father phoned from the afterlife. The strangeness of hearing his voice made me think, the next morning, of Edna St. Vincent Millay’s elegies for the voices of lost loved ones: photographs were common then but since audio recordings were very rare, a person’s timbre and accent really did fall silent forever. It wasn’t clear, in my dream, that my father knew he’d died, but I did, and even asleep I was amazed at how he sounded perfectly like himself. I’ve looked at lots of pictures of my father since his death but, although there are probably recordings of his Brooklyn vowels somewhere, I’m unlikely to hunt them down and listen. Even for twenty-first-century me, voice remains more ephemeral than image.
That strange dream-signal was part of the noise I brought to the T. S. Eliot Society’s annual meeting in St. Louis this weekend. Michael Coyle invited me to lead a seminar on sound in Eliot’s verse, which turned out to be pretty fabulous. Members of this small group had prepared papers on Eliot’s poems, criticism, and plays in print and in performance: John Melillo, who wrote an honors thesis for me at W&L ten years ago, now listens for the shifting relations of voice and noise in “The Waste Land,” with Dada playing in the background; Elizabeth Micaković had fascinating things to say about Eliot’s relationship to elocution (I’d forgotten that Emily Hale taught speech!); Fabio Vericat took on Eliot’s shifting relationship to poetic genres as he became more involved in BBC broadcasting; Julia Daniel discussed a recorded performance of Murder in the Cathedral, particularly how Eliot developed the chorus with help from a celebrated expert in choral verse speaking; and actor Michael Rogalski described his work on a performance of Four Quartets. This was an auspiciously noisy seminar: conversation began on the shuttle bus and stayed lively straight through the session and lunch after. We agreed that it had been the best seminar in recorded history and it’s a shame all of you other human beings missed it.
On the second day of the conference, Mike performed Four Quartets. His production-in-progress is fairly spare: a white screen, four white blocks he shifts around, and one actor in a gray suit. The setting, in contrast, was the posh St. Louis Women’s Club, where we had just been served a fancy lunch with monogrammed silver: a large chandelier glittered over Mike’s head as he spoke, white columns framed the space, and he paced on a dark green carpet patterned with vines and roses. Sometimes I was aware of Mike interpreting the poem; sometimes I fell unselfconsciously into the flow of language. The experience reminded me of another lost person, my dissertation adviser and a distinguished scholar of modernism, Walt Litz. I had confessed to Walt that I loved “The Waste Land” but couldn’t get excited about the repetitious, recursive self-corrections of Four Quartets. Walt chuckled at twenty-five-year-old me and reassured me it was a poem for middle-aged people. Well, here I am, getting older, and yes, Eliot’s disclosure of the “gifts reserved for age” is powerful now. So, though, is the noise, in this case the distant kitchen clatter of mostly African-American women doing the luncheon dishes and laughing, as the mostly white audience sat respectfully hushed. That counterpoint seemed important to me.
The “compound ghost” of Walt and my father—I have always associated them with one another, both men paternal to me, and drinkers, and more smart than honest—materialized again during the conference’s Saturday night festivities. While several scholars sang show tunes over a grand piano and others danced barefoot, I talked with a Washington University professor who had helped Walt during his crisis years just before retirement in the early 90s, when I was one of Walt’s final protégés. It turns out that my dissertation adviser, who was good to me but so destructive in other ways, who seemed almost to fall off the face of the earth, is still alive in a Princeton nursing home. If I can find out which, I can still contact him. I’m not sure if he remembers me, though—if I left an impression at all commensurate with his echo in me. He liked me and helped me land a job at Washington and Lee, but whatever I am now, I wasn’t a star then. It came back to me later (through Walt himself? through my eventual colleagues? I can’t remember) that he had called my interviewers, then a department full of men who’d had trouble hiring and tenuring women, and told them that I was “easy to get along with, but no doormat.”
Over the dream-telephone last week, my father said hello and apologized for not calling sooner, mumbling angrily about the doctors who had screwed things up. He also said, “It’s snowing here,” before the line was cut. So much of what we would say to people gets fuzzed out, lost in the snow. Sometimes the message would be so painful that memory’s degradation is a good thing. And sometimes it’s also good, as my own long-ago student so wisely does, to attend to the noise just as closely as the voices.
"This work is unlike any other, in its range of rich, conjuring imagery and its dexterity, its smart voice. Carroll-Hackett doesn’t spare us—but doesn’t save us—she draws a blueprint of power and class with her unflinching pivot: matter-of-fact and tender." —Jan Beatty
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