There is beauty in the darkness. This is all I have ever known.
Beauty doesn’t work the same for me as it does for most people. I first started realizing this in Mr. Booth’s (excuse me, Dr. Booth’s) English V class at Ledford High School in 1978 and 1979. I remember two moments distinctly. First, we read “The Eve of St. Agnes,” by Keats. I recall being overwhelmed by a) its darkness, and b) its beauty. This was not a traditional sunny pastoral. It’s a poem of the night, one of mystery and compelling seductive splendor.
Later we read Tennyson’s equally marvelous “The Lady of Shalott.” Again, I was struck by the way in which beauty was interwoven with dark, even sinister themes.
I wasn’t quite sure what to make of my reactions to these masterworks, but something was afoot, and when I started writing poetry on my own (as long as we’re on the subject of darkness and doom) it began with a piece called “Octoberfaust,” which I tried to infuse with as much mystery and passionate nocturne as I could muster.
Of course, looking back, my melancholy aesthetic didn’t begin in high school. Read more