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Hearing the Songs of Osage Poet Carter Revard

As printed in Hearing Health, volume 20:3, Fall 2004

By Lillian Ronda Bishop

Carter Revard, Ph.D., whose Osage name is Nompehwahthe, has spent a lifetime trying to explain life through poetry. His is a struggle to explain not only American Indian life but to emphasize how it resembles White life, Black life … human life.

HEARING LOSS
(for Stella – instead of saying WHAT?!”)

1.
Hearing yesterday’s rainbow
is not a problem if your ear
speaks colors; all you do is flash
halfway into a falling rain of
timedrops holding a nearby star
behind your head like grammar, then leap out and
backward at the speed of light, before the spectral
consonants turn white and die into
the light of common noise.
The problem’s not
my hearing aids.

2.
A scarlet tanager “yes”
still sings in your dark woods, is not
the ruby-crowned kinglet
of “yet” and not
the sharp-shinned hawk of “no.” I was a native in
that virgin continent of sounds
all wild and free, passenger pigeons
of gossip, Carolina parakeets
of pillowtalk, where now
only pickled sharks of printed pages
drift and blindly grin
at gourmet ears in academic
corridors beneath the vapor trails
of presidential verbs.

© Carter Revard

The award-winning writer and scholar was born on the Osage reservation in Oklahoma and attended a one-room country school through eighth grade. He worked his way through high school as a janitor, farmhand and greyhound trainer. The young man then snared a ticket to higher education by winning a scholarship to the University of Tulsa on a radio quiz show.

Revard, named a Rhodes scholar in 1952 and among the Outstanding Young Men in America in 1966, earned degrees at Tulsa and Oxford and a doctorate from Yale University. He has received numerous honors for his poetry and for his work as a professor of English and American Indian literature. Most recently, he was a finalist for the 2002 Oklahoma Book Awards in non-fiction for his latest book Winning The Dust Bowl.

In this memoir in prose and poetry, Revard details the experience of losing his hearing. For many years, he felt lucky because while losing the ability to pick up sounds coming through the air to his eardrums, he remained able to hear things via vibrations. “I could hear a watch ticking by placing it right against my skull, or even against my right elbow or shoulder bone.”

Revard has a persistently eclectic and extraordinary “ear” for languages and sounds. Referring to his poetry as songs and a voice, he compares himself to a mockingbird in that he too has many songs to sing. Some are songs of the Osage, some of Oxford, some of life as an Okie and some of deafness.

According to Revard, after the voice is given, a writer must find something to sing by inviting the muse to bring down the music. And whenever it comes to him, Revard begins to write, no matter where he happens to be struck with an idea. He often composes at his computer but he wrote the first draft of his poem “Driving in Oklahoma” on an envelope in his car one March day in 1972. “I had to pull over to the shoulder of US 75 going up from Tulsa to Bartlesville.”

The poet compares the momentum of writing to a swan or an albatross taking flight. “There has to be a certain speed before its wings have lift enough to get it off the ground or ocean. Then it can sail like a clipper ship as it’s tacking against the wind.”

He believes every poem he writes ought to be clear enough at first reading that readers will know what is being talked about, what story is the main one and which branches are the ones whose fruit they want to pick. “I believe every poem contains at least one story and it is best to have several others available on re-reading.”

Perhaps the most valuable gift this remarkable man has received over a lifetime of writing is learning to hear and understand with more than his ears. And the most valuable gift for Revard’s readers is his manner of sharing what he has learned. He has the teacher’s ability to pass on information in ways students can understand and the poet’s ability to make the lessons sweet.

And Don’t Be Deaf to the Singing Beyond

Ed al cantar di là, non siate sorde.
Angel in Flames to Dante, Purgatorio 27.12

You never could tell what my deaf Uncle Arthur heard.
That Sunday when the black storm-cloud came at us,
He sat there churning butter by the bedroom window.
We saw this strange cloud way off west on the hills,
A little dark funnel with specks dancing round it.
“That’s only a big whirlwind,” he said with a smile.
Well, pretty soon we saw the specks were trees,
We heard this rumble like freight trains on a trestle,
But Uncle Arthur was deaf and wouldn’t believe us.
We ran like hell to the car and drove off east—
When hail and rain came blasting after to blind us,
He just sat there in the window, churning away.
Of course the storm passed before we got to the school
And ran down steps to stand in its flooded cellar—
So, wet up to our knees, we drove back home.
When we got in, he had two pounds of butter
All worked, salted, and molded onto dishes.
The funnel had passed a half-mile north and west,
Its swath—a quarter-mile wide of leveled blackjacks—
Went up and over the valley’s northern rim.
We drove up north to find out who’d been killed.
Out in the dirt yard of their paintless four-room house
Our Assembly of God friends were standing unharmed.
“We knelt and prayed, God turned his wrath aside,”
Their mother said. Who knows which tasted sweeter,
That Jersey butter from Uncle Arthur’s churn,
Or the name of God in Mrs. Parks’s mouth?
I still get peeved, thinking of what missed them
So close they saw the lightning up in its blackness,
And what we missed, down in that scorpion-filled cellar.
Well, when my Uncle Arthur died, years later,
A migrant Okie in Porterville, California,
My Aunt Jewell, his brother Woody’s wife,
Saw him collapse there with his coronary,
And when she ran up, he lay there on his back,
Turned his eyes to her, smiled, closed them, was dead.
“He was SO deaf,” she said, “and he saw my mouth
Just calling and calling, and seemed to think it was funny.”

© Carter Revard

Excerpt from Close Encounters 1.

We of the Osage Nation have come,
as the Naming Ceremony says,
down from the stars.
We sent ahead
our messengers to learn
how to make our bodies,
to make ourselves a nation,
find power to live, to go on,
to move as the sun rises and never fails
to cross the sky into the west
and go down in beauty into the night,
joining the stars once more
to move serenely across the skies
and rise against dawn, letting
the two great shafts of light beside the sun
become white eagles plumes in the hair
of children as we give their names.

When we came down, our messengers
encountered beings
who let us take their bodies
with which we live into the peaceful days.
We met the Thunder, and the Mountain Lion,
the Red Bird, and the Cedar Tree,
Black Bear, and Golden Eagle.
As eagles, we came down,
and on the red oak tops
we rested, shaking loose with our weight
great showers of acorns, seed
for new oaks, and our daily bread.

The leaves were light and dancing and
we saw, through the trees,
the sun caught
among leaves moving
around its light. It was
the leaves, we saw,
those light beings, who raised
as they danced the heavy
oak-trunks out of earth,
who gathered the wind and sunlight,
the dew and morning into timbered
lodges for the sun and stars.

And so, of course, we sang.
Nothing’s lighter than leaves, we sang,
ghost-dancing on the oak tree as the spirit moves,
and nothing heavier than the great
sun-wombing red oak which their dancing
in time has raised up from this earth where we
came down as eagles.
It will not end, we sang,
in time our leaves of paper will
be dancing lightly, making a nation of
the sun and other stars.

© Carter Revard

Poetry selections, including the never-before-published “HEARING LOSS,” appear with Carter Revard’s permission. In addition to Winning the Dust Bowl, Revard is the author of Family Matters and Tribal Affairs, An Eagle Nation, Cowboys and Indians Christmas Shopping and Ponca War Dancers and editor of Native Heritage: American Indian Literature. Many of these titles are available at www.amazon.com.

Lillian Ronda Bishop is a freelance writer living in Oklahoma City. A published poet, Bishop maintains multiple writing interests. She is currently at work on a science fiction screenplay, a stage play and a novel.

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