Lamentation, 1944. WILLIAM H. JOHNSON / SMITHSONIAN ART MUSEUM.
THE MINISTRY OF ARTS / POETRY DEPT.
A Poet and His Divine Inquiry
Lamentation, 1944. WILLIAM H. JOHNSON / SMITHSONIAN ART MUSEUM.
THE MINISTRY OF ARTS / POETRY DEPT.
A Poet and His Divine Inquiry
A palpable sentiment that permeates the oeuvre of Pamilerin Jacob’s poetry is a profound engagement with divinity—its appearance, its wonder and its manifestations, whether imagined, experienced, or witnessed. God is either represented or the evidence of God made visible, as seen in the line, ‘If not a metaphor,/ then foreknowledge’, from the poem, ‘Anti-Pastoral for Twenty-Faced Pathogen’, published in Poetry Foundation. The allusions in Jacob’s works are at best Socratic ironies, amplifying the tension between theism and antitheism. But Jacob asks: how can belief exist without a room called doubt for it to occupy? He makes a testament of this in the poem, ‘Epithet’: ‘light smeared like toothpaste around the edges of the old cold, obstruction—that doubt–dissolved.’ In ‘Studying The World’, Jacob continues,
…we stood in a room
like this one, debating the path dew takes
back to the sky. Whether it grows more invisible
at each increment of light, or some god sucks
it up through a straw. It is possible we were happy
studying the world, not in pursuit of wisdom,
but liberation.
THE MEANING OF RELIGION
The speakers in Jacob’s poems are hypnotically self-aware of their tethering to the divine. His poetics do not question faith itself but rather the exegesis of faith. Is religion an objectification, a reification, a manifestation or a trinity of these nuances—mirroring the hypostatic doctrine of God? ‘Sickle-hand of the divine, where are you?’ Jacob asks in his ecclesiastical poem, ‘THEŌRÍA [θεωρÍα]’. This sense of uncertainty is also captured in the poem, ‘Martyr’: ‘My heart, swollen like a bicep,/throbbing in search of the God-slice./ Always chasing after God.’ What is truth? Must truth conform to meaning or must meaning conform to truth? Somewhere, swinging like a pendulum between these two viewpoints, Jacob’s theories of God emerge—speculations that embrace, rather than shy away from, the mysterious ways of divine acts.
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A COMMUNION WITH THE DIVINE
In a 2022 interview, Jacob made this statement: ‘pay enough attention to words and you end up with Logos (Word), pay enough attention to breath and you will encounter Pneuma (Spirit).’ In some instances, descriptions of God and the memories associated with Him draw heavily on allusions from the Bible, Sutras, epiphanic encounters and revelations. Poems like ‘Healing Sonata’ portray moments of encountering God. In other poems, such as ‘THEŌRÍA [θεωρÍα]’, God is revealed. At times, God is invented or reimagined, as in the poem ‘Nameless’, where the speaker reflects: ‘1. naming is how we retain sanity,/ 2. I name the wound after the priest,/ 3. I name everything… after the priest/ the nightmares/ the panic attacks/ the syringe/ the knife.’
In Jacob’s poetry, God is often portrayed as both punisher and saviour. While tethered to the divine as its anchor, the subjects in Jacob’s poems are also confronted with the biblical liturgy in 1st Peter 4:19: ‘Wherefore let them that suffer according to the will of God commit the keeping of their souls to him in well doing, as unto a faithful Creator.’ In ‘Anti-Pastoral for Twenty-Faced Pathogen’, ‘Nature is/a near synonym of cruelty—.’
In a world that has become increasingly secular, Jacob finds himself in constant struggle with the agents of secularization: his gods and desires which are rather unchaste and sinful towards his worship of God. ‘Unfortunately, I enjoy blasphemy,’ he writes in the poem ‘Contraindication’. In Jacob’s poems, his subjects struggle to reconcile their nature with the nature of God. For an access to divinity, there must be a communion of like spirits. Jacob’s poems often preach light into darkness. This is no simple task, as described in the poem ‘THEŌRÍA [θεωρÍα]’: ‘As usual, in my prayer, God slipped out like soap from wet hands & refused to crawl back in. God slipped out like soap & refused my prayer, as usual.’
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THE DISILLUSIONMENT OF HOPE
Jacob’s subjects do not suffer from a lack of faith but from the weight of conviction. In ‘Healing Sonata’, we witness the subject’s impatient lamentation over God’s seeming inactivity: ‘Whereas, God was busy, leagues above/ tilting sunlight into my [his] bone marrow.’ Yet, in ‘The Sutra on Creed’, the answer emerges: ‘Perhaps, God’s quiet works / as such. So still, it wrecks our bones. / You should build a life out of astonishment.’ A sutra prayer reflects this sentiment: ‘Lord, increase my bewilderment.’ There is a bliss in waiting, in waning, until the arrival of light from beyond. What Jacob’s poems offer, then, is the linguistic currency of light and salvation—or what many might consider a ludicrous sense of hope, an ignis fatuus reflected in the audacious lines of ‘Contraindication’: ‘Because the ache is wider than my life./ Lord, your grace is wider than my life.’
Often, the elitist tendencies of Jacob’s subjects prevent them from embracing this truth. They ‘are surrendered to’ rather than ‘surrendering’ to despair, which accounts for the melancholic verses in some of his poems. In ‘Dark Fruit’, Jacob writes, ‘All the ways we plummet/ into fire, all the precious, unnamable/ ways we dip our fingers into dirt/ in hopes of planting, but come/ up punctured, aching, animal.’ In ‘It is Impossible to Live’, he writes that, ‘Perhaps grace is a tangible thing/ only to the one who watches another bleed.’ In ‘The Craft of Loneliness’, ‘how perpendicular I am to/ pestilence/ munching always the hem/ of despair/ with shaky teeth.’ These verses return us repeatedly to the realization that the central conflict in the lives of Jacob’s subjects is not the lack of faith but its fragile, uncertain orchestration. In ‘Disillusionment Sutra’, he writes, ‘The smallest unit of hope is fantasy.’ Jacob does not shy away from the ugly truth that hope is tedious, painful, and disillusioning, yet it agonizes in endurance, in pursuit of peace. Hope, here, is another invention of God and what has kept Jacob tethered: set his feet upon the rock despite the rage of the tumultuous wind of his life.
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In the league of poets like Sarah Ghazal Ali, Jeremiah Agbaakin and Samuel Adeyemi—who explore the flawed, torturous, and riotous nature of faith—Jacob stands out as both preacher and congregation. From a pulpit, hypothetically eight feet tall, he prophesizes and sermonizes, deeply engaged in the spiritual pursuit of meaning. Drawing on the imagery of the King James Bible, Mary Oliver’s mantras for a soulful living, and the homiletic knowledge that shapes his existence, Jacob writes from a vista that offers, ‘God through the keyhole of a book,/ & sermons, ignoring the majesty of experience.’ Through a theological lens, he explores the sacred truths of spirituality⎈
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