{"id":2488,"date":"2020-08-25T10:00:29","date_gmt":"2020-08-25T09:00:29","guid":{"rendered":"https:\/\/blogs.bmj.com\/medical-humanities\/?p=2488"},"modified":"2020-07-30T16:59:30","modified_gmt":"2020-07-30T15:59:30","slug":"get-on-with-you","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/medical-humanities\/2020\/08\/25\/get-on-with-you\/","title":{"rendered":"Get On With You!"},"content":{"rendered":"

Review by Robert C. Abrams, M.D.<\/strong><\/p>\n

Field Light, Owen Lewis<\/em><\/strong><\/p>\n

\"Field<\/p>\n

At the heart of Owen Lewis\u2019 latest collection of poems, Field Light<\/em>, is the story of a middle-aged man at a multi-focal impasse\u2014emotional, temporal, marital, professional. \u00a0That man is Lewis himself, who finds himself unable to move beyond a crucial juncture in his life. The first image in the book fittingly evokes a mood of paralysis and \u00a0loneliness, featuring a long, slow train at a village crossing, a train unable to advance swiftly:<\/p>\n

and take him where he
\nneeds to go.\u00a0 A lone driver stopped<\/p>\n

in his auto.<\/p><\/blockquote>\n

In Field Light<\/em> as in life, Owen Lewis is a professor of psychiatry in New York City who has for years summered with his family in a small town in the Berkshire mountains of Massachusetts.\u00a0 But in this country setting, with its rich and colorful past, he is at this point d\u00e9pays\u00e9, just over a dispiriting, bitterly contested divorce and now estranged and alone.\u00a0 His children, long since adults, have left, and his centuries-old, charmingly dilapidated Berkshire house, the Dormouse, is empty; even its garden has grown in ways that underscore the passage of time.\u00a0 In a lonely, melancholic frame of mind, he sees and listens to a single cricket that stands out against a distant orchestral background of many:<\/p>\n

From a corner of the porch a cricket solos
\nthe gaining dusk, a distant chorale<\/p>\n

these oboes of summer\u2019s end;<\/p><\/blockquote>\n

Actually, despite his long association here, Dr. Lewis has always been something of an alien in this rarified Berkshire setting, and well aware of it, too. But he has never felt his outsider status more keenly than he does now.\u00a0 The grandson of Eastern European Jews, Dr. Lewis is living in a land of blue-blooded Anglo-Saxon Protestants, even if one of the more psychotic of them wants to be a Jew herself or self-identifies as a “Betty, the lesser Vanderbilt.”\u00a0 No one is taken in, either, by the transition from Lifshitz to Lewis and the Welsh-sounding “Owen.” (What comes to mind is a scene from the film Annie Hall<\/em>, in which Woody Allen, meeting Annie\u2019s upper-class Gentile family, suddenly appears dressed as a Hasidic Jew, with a long grey beard and payot<\/em>, because that is how he imagines he is being seen).<\/p>\n

The Austen Riggs Center\u2014the famous psychiatric hospital in Stockbridge, Massachusetts–is itself redolent of historical anti-Semitism, not to mention overt racism. In his newly acute take as an outlander in a well-known environment, Dr. Lewis\u2019 own \u00a0professional identity as a psychiatrist is also unexpectedly threatened, its sturdy conceptual underpinnings shaken.\u00a0 And he is not spared the peculiarly Jewish capacity for self-hatred, citing how Freud was fascinated by Jung as a Gentile:<\/p>\n

Freud courted Jung, first non-Jewish disciple,
\nson of a Swiss Reform Pastor.\u00a0 The other disciples
\ndistrust\u2026<\/p><\/blockquote>\n

This man without a country\u2014<\/span><\/span>where is he to go, what is he to do, now? In one of many emotionally fraught moments, he finds himself surrounded by a neglected garden of long-felled peach trees and barren pears:<\/p>\n

\u2026A garden of beauty, not sustenance.<\/p><\/blockquote>\n

As a variant on the same theme, he asks, referring to himself in the third person:<\/p>\n

What else has he forgotten that he needs?<\/p><\/blockquote>\n

It\u2019s not as if Dr. Lewis has never been alone in the Dormouse.\u00a0 In fact he has spent longish periods alone there in past years during sabbaticals, but there is an altogether different feeling now:<\/p>\n

He should be used to this unfamilied state by
\nnow, but he\u2019s not. No visitors. Not one. His only compan-
\nions, an old photograph.<\/p><\/blockquote>\n

In Field Light<\/em>, Dr. Lewis has created a new poetic genre seemingly out of whole cloth, an innovation that works wonderfully well, highlighting aspects of the poet\u2019s restless, unsettled state that more conventional formats might tend to neglect. \u00a0Intermittently, in half-poetry, half-prose digressions that function as a kind of sung-speech between the more musical lines, there are detailed asides describing the area\u2019s aristocratic forbears; further references to anti-Semitism in the history of medicine and literature; and a satirical picture of how the eccentric Austen Riggs Center caters to patients with pedigreed names and bizarre delusions.<\/p>\n

Somehow W.E.B. Du Bois, himself born and raised in the Berkshires, also makes an appearance in the mix.\u00a0 Many poets are referenced in context\u2014William Carlos Williams (another physician-poet) and Walt Whitman, particularly, but nearly a dozen others as well. With a gift for revelatory irony, Dr. Lewis presents these passages in a witty, droll tone as they range widely over vast areas of literature, psychiatry and local Berkshire lore.\u00a0 For this reader, the semi-prose interludes serve a larger purpose of confirming Dr. Lewis\u2019 overwhelming aloneness in his world\u2014this despite his splendid command of the history of ideas.<\/p>\n

Then, these passages often give way to leaps of lyric beauty and penetrating insight, as in this powerful section:<\/p>\n

What do these little gnats see
\nin my<\/em> eyes?\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The limits,<\/p>\n

the craning stretch of a personal life\u2014
\nsee more\u2014look\u2014<\/em>buzzing\u2014looking<\/em><\/p>\n

further afield, more light than a pair
\nof human eyes can see, they lend<\/p>\n

their thousand prismatic orbits.<\/p><\/blockquote>\n

Near the end of the book Dr. Lewis at last begins to confront the \u201climits\u201d he has imposed on his own life, allowing him to contemplate paths to healing. As a visiting professor at Austen Riggs, he awakens to the notion that he may be able to integrate his psychiatrist and poet personae, enriching each of them and creating the potential to reach for levels of satisfaction and meaning that he had never thought attainable. This would entail a process of dissolving boundaries between patient and doctor by:<\/p>\n

\n

letting a patient\u2019s<\/p>\n

rush of syllables become his
\ncrazed words becoming his<\/p>\n

in the moment of joining her
\nand beyond, becoming the patient\u2019s<\/p>\n

words—
\nwhite coats opening like wings<\/p><\/blockquote>\n

But few resolutions could be as serene and hopeful as the final one in Field Light<\/em>.\u00a0 Having come full circle, at summer\u2019s end Dr. Lewis finds himself back at the village train station, but now he has acquired a new awareness of time. In that critically important sense he has evolved. In years, he is on the cusp of old age, but in some ways, maturation has not kept pace until this moment. In full recognition of onrushing time, Dr. Lewis wills himself to move on, inventing from the train\u2019s distant honking sound an imperative to pull himself up from loneliness and depression and embrace the possibilities in what remains of his life.\u00a0 It follows that a gently scolding line, one that might be delivered by a loving parent or a wise uncle, admonishes him to:<\/p>\n

Get on with you!<\/em><\/p><\/blockquote>\n

and is impressed with special emphasis.\u00a0 It appears twice in the last poem, the first time with an exclamation point, the next with a period, but both in italics, doubly denoting significance:<\/p>\n

Get on with you.<\/em><\/p><\/blockquote>\n

To buy a copy of \u2018Field Light\u2019, please find the link here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Review by Robert C. Abrams, M.D. Field Light, Owen Lewis At the heart of Owen Lewis\u2019 latest collection of poems, Field Light, is the story of a middle-aged man at a multi-focal impasse\u2014emotional, temporal, marital, professional. \u00a0That man is Lewis himself, who finds himself unable to move beyond a crucial juncture in his life. The […]<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":345,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2965],"tags":[15063],"class_list":["post-2488","post","type-post","status-publish","format-standard","hentry","category-book-reviews","tag-review"],"yoast_head":"\nGet On With You! - Medical Humanities<\/title>\n<meta name=\"description\" content=\"At the heart of Owen Lewis\u2019 latest collection of poems, Field Light, is the story of a middle-aged man at a multi-focal impasse\u2014emotional, temporal, marital, professional.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/2020\/08\/25\/get-on-with-you\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Get On With You! 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