I can still see it now: the hand-made razor-cleaning-brush holder, approx. three inches by half an inch, knitted in uptightly-tense garter stitch in DK wool in variegated tones of blue by my 7-year-old self.
The HMRCBH lived in Dad’s razor box for a long time and I remember my delight in how delighted he was to receive it (or at least, how delighted I felt he was, which was what mattered). But though the giving and receiving of hand-made items remains a very special thing—which I still enjoy, and which Kirstie et al increasingly encourage us to do these days—that’s not actually (read more…)
You can read this poem here.
Like Betjeman’s ‘In a Bath Teashop’ (which you can also read here), MacNeice’s ‘Meeting point’ captures an experience both ordinary (in the sense of common) and extra-ordinary: the exalted, exalting human experience of being “in love”. Though very different in tone, these poems both emphasise the time-out-of-time quality of the state of “in love-ness”. It is a privileged state in so many ways, of which ‘Meeting point’ reminds us; but, in the repeated refrain ‘time was away and somewhere else’, MacNeice emphasises how being in love frees us —for however long or short a time—from the usual human condition of being, and knowing ourselves to be, unavoidably subject to time. Indeed, by the end of the poem, the repeated refrain ‘time was away and somewhere else’ has become ‘time was away and she was here’. This underlines how the presence of the beloved obliterates and as it were replaces time.
I love so much about this poem. Aside from the refrain, however, what stays with me always is the line ‘God or whatever means the Good’. Particularly in a time when religion seems to be so divisive (though perhaps ’twas ever thus), this is, for me anyway, such a simple, beautiful and therefore useful way to refer to something/someone. It acknowledges the existence of different concepts and understandings—’whatever means the Good’—at the same time as it invites us to see what is common to them all.
And that penultimate stanza is so neatly circular. The word-for-word repetition in the first and fifth lines, and the way the stanza’s argument seamlessly moves us from statement to restatement, seems somehow to enact the process of “proving” something, which the stanza describes. ‘[T]he body’s peace’ manifests ‘what the heart has understood’, which itself verifies ‘God or whatever means the Good’; which whole process is a cause for praise to ‘God or whatever means the Good’. The process works forwards, backwards and probably sideways for all I can tell. Brilliant. Just brilliant.
Do have a look at the Betjeman, too. Some of the diction feels of its time, and may grate on 21st century sensibilities; but this poem, too, exalts the state of exaltation in a way which those of us lucky (?) enough to fall in love cannot but recognise.