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models provided by natural landscapes. Stafford’s work does this through interactions with
“alive” landscapes and is similar to Robert Bly’s poetry which focuses on “break[ing]through
into the interpenetrating energies of psyche and landscape” (Altieri 85). This interaction is
commonly shown through prehension—a break away from rationalism and empiricism—and
favors a connection between oneself, body, and the earth attained through touch and listening.
1. India
In India in their lives they happen
again and again, being people or
animals. And if you live well
your next time could be even better.
In the first stanza, Stafford presents the idea of reincarnation where, “In India their lives
they happen / again and again” and actions in this life influence what people return as when
reincarnated, “And if you live well / your next time could be even better.” Stafford then sets a
distinction between “they” being people from India and “you” being perhaps a person from the
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West where the idea of reincarnation is not a commonly held belief. This distinction is reinforced
in the closing lines “And you can’t have that soft look when you / pass, the way they do it in
India.” In the second stanza perhaps, Stafford is talking about death when he mentions the “far-
off story” and “the animal waiting over at the side” is possibly what “you” will be reincarnated
as. Stafford carries this idea into the third stanza where he appears to be wistful toward the idea
of reincarnation “Who would want to happen just once?” but he is unable to accept the idea “you
can’t have that soft look when you / pass, the way they do it in India.” Perhaps unable to accept
the idea of reincarnation as an ontological model, Stafford presents the idea of globalism in the
2. Having It Be Tomorrow
Day, holding its lantern before it,
moves over the whole earth slowly
to brighten that edge and push it westward.
Shepherds on upland pastures begin fires
for breakfast, beads of light that extend
miles of horizon. Then it’s noon and
coasting toward a new tomorrow.
Stafford makes nature a consciously active force by giving “Day” agency where it
“hold[s] its lantern before it, moves over the whole earth slowly.” People on earth are presented
in an archaic and picturesque way where “Shepherds on upland pastures begin fires / for
breakfast.” This creates an idyllic scene of life where the landscape is used as a spiritual
backdrop instead of a mental backdrop typical of modernism. Stafford, then, dismisses this
idyllic scene and introduces the idea of globalism which is “coasting toward a new tomorrow”
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and it always has its eye fixed on the future. Globalism is the pervading idea of modern thought
and it is based on the idea that technological advancements will continually create a better way
of life. “If you’re in on that secret” a new and better day will arrive with each turn of the sun:
This creates a picture of those who are not part of globalization. Instead of living and
chasing immortality through a continually advancing technological and modern world where,
“Those around you who don’t have it new,” are stuck in the past, perhaps the archaic times when
it was typical for shepherds to tend to sheep and sleep around campfires. The shepherds are able
to do nothing but move toward death with “their head[s] turning gray every / morning when the
sun comes up.” The modernist focused on globalism might say these shepherds are foolish for
choosing this ontological existence and response to such a choice with a “laugh.” Stafford
elaborates on the idea of death and aging in the third poem in “Ways to Live:”
Unlike the second suite which ends with a “laugh,” this suite starts with “old people
cackl[ing] together” which has the connotation of a stronger, heartfelt laugh. Perhaps they are
cackling at how carried away they were with living in a modernist and globalist world, and upon
reaching their sunset years where the sun will soon no longer rise for them they look back “and
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shiver” at the idea of continual expansion and achieving immortality through the advancement of
technology as nothing more than a “dizzying” and false ontological template. Stafford then
reintroduces the “beads of light that extend / miles of the horizon,” a possible reference to
modernism and globalism which is always looking over the horizon toward a new future, as
“light” that “knows how to rest on the faces of friends.” Perhaps this is an allusion to Stafford’s
poem “Earth Dweller” which closes with the lines “The world speaks everything to us. / It is our
only friend” and presents the idea of immanentism which is the focus of the fourth poem in
“Ways to Live:”
As a title for the fourth suite, “Good Ways to Live” alludes to the idea of using something
higher than us, perhaps an idea, as a model for human consciousness. This idea is reintroduced
by the line “The room you have in the world is ready to change” where Stafford posits an
English at the University of California, Berkeley, presents immanentism in his book Enlarging
the Temple: New Directions in American Poetry During the 1960s as the idea that the earth and
everything in it is alive and interconnected. Stafford is a member of the category of poets Robert
Kern describes in his review of Enlarging the Temple : New Directions in American Poetry
During the 1960s where Kern critiques and restates immanentism as:
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the change from symbolist to immanentist modes of poetic thought [that] constitutes a
….historical pattern or context in which a fairly diverse group of poets can be accurately located,
….and the other is that the poets themselves have indeed worked out, no matter how consciously
Immanentism exhibits an “alive” world where “it all moves” and there is an intrinsic
connection where “birds from far touch the fabric around them” that is revealed through
prehension, “—you can / feel their wings move.” Stafford gives the world an active agency:
Somewhere under
the earth it waits, that emanation
of all things. It breathes.
An immanentist world is a world where the earth exists as an organism: living, breathing,
and adapting to its environment. Unlike individualism where the ideal person functions as an
island, Stafford leans toward immanentism as an ontological template. In this school of thought,
people are also part of the world and there is “a sense of interdependence [between] all things
It pulls you
slowly out through doors or windows
and you spread in the thin halo of night mist.
The immanentist world has further agency and uses this agency to act on “you,” drawing
or pulling “you” out of an individualist room through “doors or windows” to a world where as
Altieri puts it, “The ideal is to refute Freud and have art without neurosis, to have an art, in fact,
which can cure and not displace man’s most basic alienations” (Altieri 63).
With the immanentist world established as an alive entity, Stafford’s uses this world as an
ontological template observed through prehension, touch, and hands as exhibited in “Annals of
This poem is a contrast to the poet Robert Lowell’s idea of touch which is based on
people using their will and hands to shape the world around them and they are “only in touch
with what [they] touch without exploring just what the mysteries of touch entail” when touch can
be used as a conduit for a direct perception of the world (Altieri 93). Here “one recognizes force
and yields” and there is a reversal of roles between oneself and the world where the world is
given a greater agency than oneself. This agency can then be used, instead of as an
individualistic model of thought derived from “trusting public rational models,” as a model of
thought derived from the world’s agency (Altieri 85). This ontological existence is achieved
through a turning inward where one “like water” surrenders oneself to a force greater than
oneself and loses oneself in the “seethe and retreat of the ocean.” Stafford writes that a turning
is an example of how Altieri says that immanentist poetry “forces one beyond imagination to
direct perception, to the cutting edge where man and the world are in perpetual interchange”
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(Altieri 93). Altieri claims this idea is a strong break away from individualism and offers an
understand[ing]—tries to make it by asserting the self as character” (Altieri 101.) This alternative
places a higher value on the world than on oneself, and one takes on a subservient role toward
the world, listening to the natural rhythms of the body which allows one to “participate in
experience, not to control it” (Altieri 98). In Stafford’s work, listening and touch are a way of
directly connecting with the world on an intimate level that produces direct sensory input unlike
sight which produces images or an outward connection to the immediate world as exhibited in
“Touches:”
The opening line “Late you can hear the stars” presents a sense of prehension—sound is unable
to travel through space because there are no atoms or molecules for it to travel across—where
one is connected to the stars in a way beyond rationalistic modes of thought. This presents
listening as a prehenstic universal and Altieri states, that for the immanentist poet “Universals
that matter are not conceptual structures but energies recurring in numinous moments” (42). This
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sense of prehension is reinforced by the following lines where Stafford expounds on the power
of listening, and he once again elaborates on using the earth as an ontological template:
Stafford shows a “kind of quiet other than silence,” achieved through listening that
presents an inward connection to the earth. Stafford’s poem “Touches,” is similar to Altieri’s
which combines as Altieri states, “Psychic depth and cosmic force, the Romantic dream of the
redeemed human body and the contemporary quest for a vision of cosmic harmony based on
natural law” (88). Bly uses conversation as a means of, as Altieri states, “slip[ping] inward
before [Bly] asks the same slip of the reader, and the sustained analogy then gives depth and a
sense of secure grounding to the moment of insight” (88). In Stafford’s poem, one is asked to
slip into the earth which is then used as an ontological template that “guides you” back to the
surface of the earth “out where the sun comes” where in a moment of insight one sees “it is [a]
precious world.” In the second stanza, Stafford shows a connection to the earth achieved through
touch:
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Here the world is given agency that one connects to through touch and once again there is
a reversal of roles between oneself and the world. The world is given a greater agency than
The last two lines highlight the power of the hand and its ability to control. They ask the
question: should we use this power to control nature because we can? Ian McHarg “an emeritus
landscape architecture and regional planning…and ran it for three decades” (Revkin 1) while
also professing a form of ecological architecture that minimized the impact of human
construction on the environment, posits his position, in Stafford’s omnibus review “At Home on
Earth” where Stafford shares his thoughts on books that examine humans’ impact on the
environment. McHarg’s statement focuses on modernism’s expansion which leads to cities that
act as islands separated from the earth’s landscapes, much like one who uses individualism as an
If we lower the eyes from the wonderful, strident but innocent assertions of man’s supremacy,
….we can find another tradition, more pervasive than the island monuments, little responsive to
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….the grand procession of architectural styles. This is the vernacular tradition. . . . The farmer is
….the prototype. He prospers only insofar as he understands the land and by his management
This situation can be applied to all people besides the farmer. While most people do not
live in a direct and visible connection with the earth as the farmer who raises crops does,
everyone is affected by the environment—especially as the debate over the connection between
human activities and global warming heats up—and is in some way impacted by rising sea
levels, extreme weather shifts, and water contamination. These are all side effects of living in a
modernist world. While the question—should one use this power to control nature because one
can—remains, the more pressing question is: how much is one willing to suffer to maintain one’s
According to Stafford’s work, if one uses the earth as an ontological template combined
with the idea of immanentism, it will reveal the “sense of interdependence [between] all things
alive” (Altieri 88). When this prehensile sense of the intrinsic connection between everything is
acknowledged one will no longer attempt to function as an island as one would when viewing the
Works Cited
Altieri, Charles. Enlarging The Temple. Lewisburg: Bucknell University Press, 1980. Print
Bly, Robert.
--. “Looking into a Face” The Light Around The Body: Poems by Robert Bly. New York: Harper
Kern, Robert. “Enlarging the Temple: New Directions in American Poetry During the 1960s by
Charles Altieri.” Criticism, vol. 22, no. 3, pp. 287-293. Accessed 26 April 2018
http://www.jstor.org/stable/23103236
Revkin, Andrew C. “Ian McHarg, 80, Architect Who Valued a Site’s Natural Features.” The New
York Times 12 Mar. 2001 The New York Times 20 May 2018.
Stafford, William.
---. “Annals of Tai Chi: ‘Push Hands.’” The Way It Is: New & Selected Poems by William
---. “At Home on Earth.” The Hudson Review. vol. 23, no. 3, pp. 481-491.
---. “Earth Dweller.” The Way It Is: New & Selected Poems by William Stafford. Minneapolis:
---. “Touches.” Someday, Maybe. New York: Harper and Row, 1973. Print
---. “Ways to Live.” The Way It Is: New & Selected Poems by William Stafford. Minneapolis: