In an indifferent
literary universe, does it makes the slightest difference
if poetry hailed by one generation is forgotten by the next?
If no one reads or remembers a once-acclaimed line fifty years
after publication, do birds stop singing? Or should aspiring
poets instead plan careers in advertising, aping George Orwell’s
hero in Keep the Aspidistra Flying?
These questions were inspired by my Aunt Rhoda. She is a
petite septuagenarian who saves things for the people she
loves, never allowing distance or the passage of time to come
between ardor and an artifact. This fall, as I examined photos
of wild mustangs that my aunt had pursued in Wyoming, she
handed me a stack of paper. “I made copies for you,”
she said, “because you like poetry and at one time my
cousin’s work was anthologized with DH Lawrence and
James Joyce.”
I was shocked. Not because I had never heard of a poet in
the family…each branch lives far apart and stays separate
as if we are trying to evolve into species uninfluenced by
the mainland. It was more that, due to a genetic stroke of
luck, I read very fast and have rushed through the “major”
poetry of the twentieth century. But I had never heard of
this poet called Alter Brody. I had never seen a reference
to him in a book or journal. And after I read his work and
looked him up on the web, I could find no biography and few
references beyond a poem online at www.bartleby.com. They
listed Alter Brody as 1895---, as if he were still alive!
I found it hard to understand how a poet who had once shared
such exalted literary company could vanish into oblivion.
It was not inexplicable to my aunt. “I met him when
I was a child,” she said consideringly, “and he
was a very strange man.”
But a very fine poet. In 1918, BW Huebsch published Alter
Brody’s first book, A Family Album. Critics raved about
his intensity and individuality revealed in pictorial images
of Russian and American life. Admittedly, some of the praise
sounded a little too politically correct, as when Louis Untermeyer
summarized the book as “an interpretation of industrial
activity against a background of ancient dreams; young America
seen through the eyes of old Russia.”
At first, I was disappointed by these painfully realistic
poems. I expected too much, perhaps...the prodigious fantasy
of a Joyce or the lyrical narcissism of a Lawrence. Instead,
Alter Brody describes life outside his Manhattan window in
a poem called Ghetto Twilight:
“Watching the vague sky lowering overhead
Purple with clouds of colored smoke
From the extinguished sunset;
Watching the tired faces coming home from work,
Like dry-breasted hags
Welcoming their children to their withered arms.”
I reminded myself that Alter Brody was only twenty-two years
old... what better way to leave his Russian childhood safely
behind than to render a New York City neighborhood poetic?
More successfully, he merges his interior and exterior environment
in Soliloquy of a Realist:
“Isn’t sunlight on those rusty fire-escapes
a deeper gold;
Something more than mere sunlight-- the very soul of things
Coaxed out of the iron?
Is that ugly?
You need steeled sight;
An obstinacy of vision that melts the hard edge of things
like compressed fire
And fuses them into beauty.
It’s so much easier to make it up yourself.”
I was fascinated by this abrupt philosophy of creation. And
Brody restates this unique vision in the philosophical poem
Searchlights, not included in his first book but attributed
to him on the worldwide web:
Tingling shafts of light
Like gigantic staffs
Brandished by blind, invisible hands
Cross and recross each other in the sky,
Frantically—
Groping among the stars—stubbing themselves against
the bloated clouds—
Tapping desperately for a sure foothold
In the fluctuating mists.
Calm-eyed and inaccessible
The stars peer through the blue fissures of the sky,
Unperturbed among the panic of scurrying beams;
Twinkling with a cold, acrid merriment.
Perhaps this poem says more about the literary firmament
than the physical one. It is almost an American tradition
for minor poets and novelists to die poor, lonely, and unappreciated
by their public. In fact, there may be more interest in Alter
Brody in Great Britain than in America. Sixteen years ago,
a warm, friendly article on Brody’s work by Anthony
Rudolf appeared in London Magazine. In 1981, Rudolf had embarked
on a painstaking literary search for Alter Brody, tracking
him down in a nursing home and urging him to collaborate on
a rediscovery of his works. While motivated by genuine admiration
for his poetry, I questioned the validity of Rudolf’s
literary criticism. He said that Brody’s poetry “makes
“a music of perception which enchants like the old sepia
photographs we all love.” But should a poet ever be
perceived as sepia ... especially one that I am convinced
saw his work as seeds of scarlet and pearl? Esthetically,
did someone like Alter Brody deserve to disappear?
There is an eerily reminiscent story by Max Beerbohm --entitled
Enoch Soames-- about a poet who makes a bargain with the Devil
to visit the future and finds that his only claim to fame
is as a character in a story by Max Beerbohm. Alter Brody’s
disappearance was real and therefore far more tragic. My aunt
says that Alter Brody was aided in his descent to oblivion
by his family. They did not understand him, and they were
ashamed of what he wrote. His father’s religion was
not the warm, understanding ‘fiddler on the roof ‘
variety of Judaism made famous by Sholom Aleichem, but instead
focused on a grim adherence to the Torah. In his poem “Ma”
Brody characterizes this unsatisfying relationship:
“...are you thinking of your husband,
Reeling his way through the years,
Stupefied by his fate—
...Or are you thinking of me—
Your strange, queer, puzzle of a son;
The poet-changeling of your womb—
Whom you would love but do not know how;”
After that one book of poetry and the publication of four
emotionally draining plays, Brody received no encouragement
to continue writing from his family. And his extended literary
family appeared to accept his silence. Rudolf mentions that
“single poems appeared in magazines and anthologies
for a number of years.” but they fell upon the same
silence... all the more devastating since Alter Brody never
stopped writing until his death in September 1981.
The University of Pennsylvania has preserved some of Brody’s
letters. They are more playful and personal than his poetry
and plays, as if, when he could discard his persona of being
an important writer capturing the essence of his Jewish generation,
he just enjoyed being a New Yorker. He chides Louis Mumford
for having “broken up our happy home (268 Henry St)
and separated two loving hearts this summer. Gertrude as result
of your recommendation is going to Yaddo in August and is
summering in the meantime at Amawalk NY. While I am taking
care of the metropolis for her and other unfaithful New Yorkers
at 288 Clinton St.”
I prefer to think of Alter Brody in this isolated moment
of time. I see him typing at his kitchen table on a sunny
July morning, secure in the praise of the New York literati
and mercifully unaware that in the future, his poetic existence
will become a matter of speculation.
For I think that on some inner level, it does matter when
a poet loses his audience. Until more literary annals are
forthcoming, Alter Brody must be seen as a historical phenomenon
reminiscent of the Pharaohs of Egypt. Their names were wiped
out of the public records by their successors, and they vanished
from human memory. Now, a literary archeologist needs to piece
together the missing parts of the narrative record, undertaking
a detailed examination of the strata and the evidence of past
life. We have sacrificed part of our history by relinquishing
Alter Brody’s poetry to silence. I challenge a publisher
to make it accessible again.
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