Christal
Cooper 4,019 words
Poet
Robert Gray’s
Own
Road To Damascus:
JESUS
WALKS THE SOUTHLAND
“Christianity
is part of my DNA. There are things about it, at least the version I grew
up with, that I can no longer accept, but there are also parts that can’t let
go of.”
This
past April of 2014 Robert Gray’s poetry collection, JESUS WALKS THE
SOUTHLAND, was published by negative capability press (www.negativecapabilitypress.org).
Gray’s
previous poetry collections are I Wish That I Were Langston Hughes
and DREW: Poems from Blue Water.
Gray’s
JWTS is more than a poetry collection, but a prayer to a higher
power, an attempt to rescue Jesus from Christianity, an apologetic to the
African American race for his responsibility of racism by simply being white,
and a cry for social justice in an America that is still ravaged with racism,
especially amongst black and white in Alabama’s south.
Gray
was raised, along with his brother Drew, in a devout Methodist family who held
to the traditional and conservative views of religion and politics. Even
still, in his small hometown of Sylacauga, Alabama, he attended the integrated
Main Avenue Elementary School, in 1970.
“My
first grade year was the first year the school system was fully integrated, so
for me, all of that was invisible. I wasn’t aware of anything being
different, and for that I am lucky.”
Gray,
a choirboy in the Methodist Church, held the standard view of Jesus that most
of the white south had: a tall white male with golden brown hair and warm
blue eyes.
“There
was one (picture) in the room I usually slept in at my grandmother’s
house. It was the standard handsome white guy with light brown hair and a
halo, the immaculately conceived only Son of God, the Savior of the World, the
only key to the kingdom of heaven.”
Gray
inherited his mother’s sense of power and wonder of religion. He also
inherited from his father permission to doubt and think against the norm, which
he exercised when he took a lecture course on William Blake, and as a result,
experienced the beginnings of spiritual awakening and fulfillment that were
absent in his conservative and religious upbringing.
blake
was first introduced to me through the words of lectures
languishing
in the error and blindness that is the theme of
all
his work but I’ve since found the maker of the lamb and tyger is
kept
from our restrained eyes so that we can finally see at albion’s
emanation
that all deities do indeed reside within the human beast.
*Excerpt
from “A POEM FOR WILLIAM BLAKE” Page 35
“I
thought they were brilliant when I was listening to them. When I studied
Blake in much more detail later on (and I owe much of my understanding to my
dear friend and mentor, Vic Paananen, who died of cancer last year), I realized
that you can’t really understand the earlier stuff that everybody reads (e.g., The
Songs of Innocence and of Experience and The Marriage of Heaven and Hell)
until you’ve read the later prophecies that almost nobody reads (e.g., Milton
and Jerusalem) because they’re almost incomprehensible. But the Songs
and Marriage take on entirely different levels of signification through the
frames of the prophecies.”
Gray
started writing poetry in his college years when he was a member of a rock
band, and given the sole responsibility of writing the band’s lyrics, but he
did not start writing poetry seriously until he took a
British Literature survey course and fell in love with Romanticism and the poet
William Wordsworth.
the
natural world wordsworth wrote of long ago
was
harmony wrought in the style of church hymns
or
flowing lines of tintern abbey and the ode
immortal
harmony and beauty we no longer see
the
world’s a poem that doesn’t rhyme
it
lacks a certain metric or sense of time.
*Excerpt
from “RHYMING LANDSCAPES” page 70
“When
I was about fifteen, I went to England with my church choir. We visited
the house of some guy named Wordsworth. I had no idea who he was, but I
loved the beauty of his Lake District. Several years later, I took a
British Lit survey course and read his work. After reading his poems and
connecting them to my memories of those landscapes, I was hooked.”
After
taking the British Literature survey course, Gray made the decision to become
an English major, earning his B.A. and M.A. in English and a Ph.D. in
Instructional Technology, all from the University of Alabama.
He
encountered other books and writers during his college years at the University
of Alabama and Michigan State’s doctoral program that he mentions in his poetry
collection JWTS: some of which are Maya Angelou’s I
Know Why the Caged Bird Sings, Harper Lee’s To Kill A
Mockingbird, and Herman Melville’s Moby Dick. His
reading of these books, especially Moby Dick, made an impact on
him while studying for his Master’s comps.
how
long must we believe
biology shapes behavior
blaming our own oppression
on whales
*Excerpt
from “OF SCHOOLS AND SCHOOLMASTERS” Page
67
“I
got up one day, started reading Moby Dick, and put it down when I
finished it and went to bed: long day, but a good day. That poem
was written as part of the Remaking Moby Dick Project, which was curated
by Trish Harris. There was a museum installation in Norway and a book
published. She put out a call for responses to individual chapters.
I drew that chapter (88). It was actually a part and aspect of the book
that I couldn’t remember, so it was a neat experience.”
Gray
took his first poetry writing class while in graduate school, which was not a
pleasant experience for Gray, even though, in the long term, it made him a
better poet.
“I
fell in love with poetry because I fell in love with Romanticism and was
studying and primarily reading the English Romantics, so when I started writing
poems, I sounded like I was in England in the 1810s. In fact, my teacher
told me I sounded like John Clare. It took me several years to figure out
how not to do that, how to move my voice up a couple of centuries.”
Perhaps
Gray’s most autobiographical and most fictional poem from the collection is “THE
ROAD TO DEMOPOLIS”, where Gray is the symbolic blind unbelieving
Paul until he is visited by the real Jesus/ the real truth, and finally, in the
end, his eyes are open to what is truth and what is right.
i
was on the road to demopolis
to
meet an old friend
at
a barbecue joint
when
a light flashed from above
and
a voice called my name
above
the din of daydream
and
dave matthews
i
know why you persecute me
after
making sure I was still
awake
and on the road
i
sheepishly asked
lord
is that you
a
voice more like jackie mason
than
james replied
no
I am paul the apostle
find
the epistles
that
one you’ve been persecuting
in
your poems but let us fix
your
eyes on me the real me
*Excerpt
from “THE ROAD TO DEMOPOLIS” page 37
In
Gray’s own personal life, it took poetry, the works of great storyteller
masters, and his own witness and observation of injustice and racial inequality
in the south for him to finally see the truth, and thus, he is a new creature.
“I
don’t know if it was anything I studied in particular so much as intellectual
maturation and growth. It wasn’t until much later that I realized the
concepts of English Romanticism circa 1800 had seemed radical to me because the
worldview I grew up in was the same one the Romantics were speaking out
against…”
As a result, Gray is no longer a Methodist, but a member of his local Episcopal
Church, not necessarily because of its dogma, but its celebration of
questioning and doubting of typical brands of Christianity, and this is felt
and expressed through his poetry in JWTS.
“In
his blurb on my new book, JWTS, Hank Lazer said I was trying to save
Christ from Christianity, and in some ways, while many would probably find my
book offensive or even blasphemous (at least in a couple of poems), taken as a
whole, it is a kind of testimony to a Christianity that is about justice, about
fighting oppression, about granting dignity to all human beings.”
Gray, through his own conversion experience, has changed his views on
Christianity and Jesus, though he will not go into great detail, which is the
ethical duty of a poet: a poet and a poem are two separate entities and
poems belong to the reader as much as to the poet.
“Whether
the crucifixion and resurrection literally happened or not has no effect on the
“truth” of the story. I still see Jesus as the archetype of humanity and
still greatly value the example he gave us for how to live.
To
me, the Gospels are about how to live in this world (and) about how we are to
sacrifice our selves. We are literally to be consumed by the world in our
fight against injustice and oppression so that every human being can stand with
dignity. That, in my reading, is the "way" of Christ.
It
would logically follow that if you are a Christian merely so that you will go
to heaven, you're doing it wrong. Heaven may or may not enter into it,
but that’s not something I am going to concern myself with. This world is
a heaven that we have turned into a hell for the vast majority of its
inhabitants. The only thing keeping it from being a heaven is our lack of
will to make it so, mostly because we are more concerned with maintaining our
place and stake in that world than with elevating others. And the role
that historical and contemporary Christianity has played in making sure the
haves feel “blessed” and the have-nots feel comforted by the world to come is
as great an evil as the world has ever known.
Gray
not only has revolutionary ideas about Christianity, but poetry as well, and
like some Christian circles, there are poetry circles that consider him a rule
breaker as well: poet Gray refuses to use capitalization and punctuation
in any of his poetry.
“I
was just writing a poem one day and would come up with several lines at once,
but when I would get to an end of a line, I would struggle to decide what
punctuation to put there (a period? a dash? a semicolon? etc.). So
I just stopped using punctuation and soon figured that capitalization should go
too.”
He
didn’t feel like he had the right to call himself poet until after his second
poetry collection DREW: Poems From Blue Water was
published. DREW: PFBW is dedicated and focused on his
brother Drew, his brain cancer, and his death.
“It
took me a long time to make that recognition. I thought of myself as
someone who wrote (or at least had the capacity to write) pretty good poems as
early as the late 1990s, but I wasn’t really comfortable with calling myself a
poet until my second book came out.”
Gray
describes JWTS as a poetry collection on religion and politics
divided into three sections: Politics (ONE: IT’S DIFFERENT GROWING UP
IN THE SOUTH); Religion (TWO: JESUS WALKS THE SOUTHLAND); and
Metaphysical Observation Poems/Meaning of Life Poems, which are neither
political nor religious (THREE: AND THE WORLD WAS GOD).
“I
originally had the religion section first, but both Lorna Dee Cervantes and Sue
Walker recommended I put the political ones first because of the danger of the
religion poems putting some readers off too early. The placement or order
of the poems in each section was just by feel. A few of them bounced
between sections before finding their permanent home. I also felt
strongly that each section should have the same number of poems, I guess so
that one wouldn’t be privileged over the others.”
Some
of these poems may be disturbing, particularly to those who are white,
conservative, and evangelical Christian. In “I WISH THAT I WERE
LANGSTON HUGHES” Gray makes an argument of what is black poetry and what is
white poetry and the difference between the two.
i
have long found
a
fundamental difference between white poetry
and
black poetry
and
I have often envied it
and
while I am certainly
as
guilty as anyone and
would
never wish to oversimplify
it
seems to me that white poetry
has
often soared on the ethereal
wings
of imagination and philosophy
african american poetry
on
the other hand
has
preferred to labor
with
its hands in the earth
it
had on its work
in
the everyday
*Excerpt from “I WISH
THAT I WERE LANGSTON HUGES” pages 5 and 6.
“I don’t think I would say
that Black poets are “labor poets,”
though.
That implies a kind of class distinction that I wasn’t going for. If I
were to restate or explain it here, I would say that white poets, especially
pre-20th-century ones, tend to be more concerned about the meaning
of life, while Black poets tend to be more concerned with life itself.
But again, there are many exceptions to this.”
There
is also the hint of being ashamed of being white or being held responsible for
the racial atrocities happening to the African Americans based on one simply
being white.
for no
matter how much
i
read or think or discuss
no matter how enlightened I may feel
i can never understand
as a white poet
privileged by nothing else
but my own whiteness
how the truth in their words
can
see so well into the life of things
and
so I am damned
by
that same whiteness
*Excerpt
from “I WISH THAT I WERE LANGSTON
HUGHES”
page 5.
“I
wouldn’t say that I am (or have been) ashamed to be white. And I don’t
think I can be anything but a white poet, but hopefully one that has learned to
push against my limitations. Sure, there are many, many things that white
people have done that I’m not proud of, but I’m not aware of any ethic or
racial group that has a history free of such things (although, I must say,
white people undoubtedly have more than our share).
No
one should be ashamed of their identity. Shame is such an unproductive and
crippling emotion. But if shame enters into it anywhere, I suppose it
should be in regards to how you respond to your identity. So, if you are
a white person who professes to be a Christian and have all of this residual
evidence of the violence and oppression that whiteness continues to express in
our society, and you choose simply to go on with your life, re-inscribing and
perpetuating those expressions, as well as benefitting from the advantages and
privileges that previous injustices have provided, instead of doing something
to work against them, then at that point, shame does have a place in all of
this.”
many
might argue that poetry
should
be above the baseness
of
politics and there may well be
a
richness to those arguments
but
there is also a whiteness
silently
blinding us to the life of things.
*
Excerpt from “I WISH THAT I WERE LANGSOTN HUGHES”
page
6
“I
fully realize the limitations of the binary I set up in “I WISH THAT I WERE
LANGSTON HUGHES,” but the deconstruction bit at the end was intended to undermine
that binary. I originally had a line or two that talked about not wanting
to oversimplify, but it just sounded too coldly academic so I took it
out. I’m still not sure if that was the right decision. There are
certainly many, many examples of exceptions to these generalizations, but as
generalizations, I think they do tend to hold.
it
mocks the historic lines
underlying
lady liberty
undergirding
what is supposed
to
constinute our national greatness
while
htose who cry out for the
poor
the tired the tempest-tossed
those
who cry out against the madness
are
cast aside as madmen crying out
*Excerpt
from “OUR COUNTRY IS BROKEN” page 22.
In
“OUR COUNTRY BROKEN”, a fair interpretation could the be condemnation of
republicans and evangelical Christians, but Gray insists that’s not the main
point he is trying to make in the poem.
“Rather,
I think of it as a condemnation of the willful ignorance that pervades our
culture. I suppose you could say, then, that it’s a condemnation of how
the Republican party works to perpetuate and manipulate that ignorance and how
the fundamentalists fall right for it. Primarily, though, I think it’s
about how deceptive political discourses are and how important it is in a
democracy for the people to be smart enough to not be duped and how we are
failing miserably at being smart enough.”
In
“GOOD LITTLE GIRL” Gray describes, in his view, the political views that
a true Christian should never have. In the poem he describes a good
little girl who is supposedly a Christian who reads her red Gideon Bible every
day, and how she loves the color red because it reminds her
of the blood of jesus
and how it
matches
almost
perfectly the roses
on her laura
ashley comforter
*Excerpt
from “GOOD LITTLE GIRL” page 12.
This
description can apply to all Christians, who, according to Jesus, are called to
love their neighbors and their enemies as their own selves, which involves
turning the other cheek, and giving one his or her last coat during the coldest
of seasons. Unfortunately, in today’s world, even the Christian world,
this is not always the case.
“I
was just trying to point out that the current political views publicly held by
“conservative Christians” seem, at least to me, a bit antithetical to the
teachings of Christ. There is part of me that wanted to go a lot further
with that depiction, but I held back.”
Gray
insists that he is not writing poems that express a blanket commentary about
Christianity or even to all Christians, but is expressing disappointment in certain
segments of Christians and Christianity who exhibit behaviors that are cruel to
individuals or groups of individuals.
“There
are a lot of good and bad Christians, good and
bad
white people, and good and bad Black people. I play with the stereotypes of
the political views of conservative whites that are perpetuated in the media
and verified daily in my Facebook feed and email inbox, but I hope my poems
don’t suggest that all white people are like that. I can’t think of where
they would.
Though
he may not claim the title, he is a civil rights activist and is constantly and
consistently seeking out the rights for minorities, LGBT groups, and
specifically African Americans, which are ever present in Alabama and in his
personal and professional life.
“Besides writing books and making movies for racial equality, I am currently
working with the mayor’s staff in Mobile to organize a series of events an
programs to address racial divisions in the city.”
Presently
Gray resides in Mobile with his wife of 24 years Kim and their two children
Liam and Emily in an integrated neighborhood, but not integrated enough for
him.
“Our street is about two blocks long, and currently, everyone who lives on
it is white. There are African Americans who live at each end and on the
streets on each side of it and on the one that intersects it in the
middle. So, in a way, yes, it is integrated, but I would like for it to
be a little better integrated.”
Gray
believes more integration is part of the answer to our racial issues in America
today, but that it is not the sole answer, and in order for it to work properly
both sides of the equation must to do it voluntarily, willingly and
cheerfully.
“The
thing about integration, however, is that it’s very much like the theorizing I
do on interaction in my instructional technology day job: both sides have to
change for it to happen. If it is truly going to work, then the (now
almost lost) virtues of the African American schools that constituted the heart
of many communities of color have to be incorporated fully and respectably into
the majority schools. And the children of people with power, influence,
and wealth can’t flee to private schools. The same has to happen in
neighborhoods and workplaces. We can’t just make people of color
transform themselves to fit white spaces; the spaces have to cease being
“white.””
It’s
obvious Gray has given his blood, sweat, tears, heart, mind, body, and soul in
these poems that make up JWTS.( http://www.amazon.com/Jesus-Walks-Southland-Robert-Gray/dp/0942544943/ref=sr_1_1?ie=UTF8&qid=1405295745&sr=8-1&keywords=Robert+Gray+I+WISH) His favorite
poem, if he had to pick from the collection is “JESUS WALKS THE SOUTHLAND”,
which he described as a journalist account of a true story.
“A
couple of weeks after I moved to Mobile, I went home to visit my wife and kids
for the weekend, who were back in Birmingham trying to sell our house. I
was driving back that Sunday evening and reached Montgomery right at
dusk. There was a lot of construction going on at that time on I-65, and
traffic was pretty heavy. All of a sudden, a bum literally stumbled out
of the traffic in front of me, and as I passed by him, I looked in my rearview
mirror. It was like he was staring right into my soul through my rearview
mirror. It was really strange.
And
although he was balding on top and didn’t have much hair and only a scraggly
beard, his face and eyes looked just like Jesus, or at least just like that
shared image we all have of Jesus. And even though I was well past him
and traffic was horrible, I felt a strong impulse to pull over and give him a ride,
primarily because of that superstitious belief most Southerners are raised with
that such figures could be angels sent to test us. I immediately scoffed
at such an impulse but also immediately looked over into my passenger seat and
remembered that I was moving a lot of stuff from home to my new apartment, so
there were boxes in the front seat and a book case in the back. There
literally wasn’t room in my car. Even if it was Jesus!
I
then started thinking about the richness of that experience and how it could be
interpreted in so many ways. So as soon as I got out of town and traffic
lightened up a bit, I pulled over on the shoulder of the exit ramp to Pintlala,
grabbed my laptop, which was on the floor in front of the passenger seat, and typed
it out. When I got to my apartment a couple of hours later, I played with
it for a few minutes and called it done.
A
year or two later, I was teaching Auden’s “Musée des Beaux Arts” and thought
how the message in that poem about suffering always going on in the margins
aligned very nicely with my poem, so I added the “somewhere to get to” as an
allusion/homage to Auden.”
JESUS
WALKS THE SOUTHLAND
tonight
I saw jesus
in
my rearview mirror
he
was on the side
of
the road in montgomery
and
looked just like
he
always did
in
those paintings
except
that he was
a
bit thinner on top
and
a lot dirtier
which
I guess was
just
from the shit
that’s
been dumped
on
him recently
i
couldn’t really tell
if he was hitchhiking
or
just walking along
it
all happened too fast
but
it wouldn’t have mattered
anyway
because I wasn’t looking
out
for him besides
i
had somewhere to get to
and
didn’t have room in my car.
Complete
Poem “JESUS WALKS THE SOUTHLAND” from JWTS. page 27.
or
grayrobe@comcast.net; via facebook at https://www.facebook.com/grayrobe?fref=ts ; via web at http://robertgraypoetry.net : or via telephone at 251-380-2616.
Photos
A
Robert
Gray amongst trees
Photo
B
Front
jacket cover of JESUS WALKS THE SOUTHLAND
Photo
C
Jacket
cover of I WISH THAT I WERE LANGSTON HUGHES
Photo
D
Jacket
cover of DREW: Poems from Blue Water
Photo
E
Robert
Gray (far left) and older brother Drew (far right in red)
July
1968
Copyright
granted by Robert Gray
Photo
F
Robert
Gray’s 1975-1976 class, middle row, sixth from left
Copyright
granted by Robert Gray
Photo
G
Painting
of Jesus
Public
Domain
Photo
H
Gray,
*(number 39) and his family
Copyright
granted by Robert Gray
Photo
I
Gray
(back left) and his family
Copyright
by Robert Gray
Photo Ja
"Portrait
of William Blake, engraved by William Bell Scott 1811-90" oil on Canvas,
location: Fitzwilliam Museum - University of Cambridge.
Public
Domain
Photo Jb
Vic Paananen
Photo Jb
Vic Paananen
Photo
K
Jacket
cover of SONGS OF INNOCENSE AND OF EXPERIENCE
1826
Public
Domain
Photo
L
Jacket
cover of THE MARRIAGE OF HEAVEN AND HELL
1790
Public
Domain
Photo
M
Robert
Gray’s rock band. Robert Gray is in the very back.
Copyright
granted by Robert Gray.
Photo
N
William
Wordsworth about the time he began writing The Prelude at age 28 in 1798
Public
Domain
Photo
O
A
2 × 3 segment panorama of the town of Keswick, nestled between the
fells of Skiddaw and Derwent Water in the Lake District,
Cumbria, England. Taken from about 3/4 of the way to the summit of Walla Crag.
Photo
by DAVID ILIFF. License: CC-BY-SA 3.0
Photo
P
Jacket
cover of I Know Why The Caged Bird Sings
1969
original edition.
Photo
Q
Jacket
cover of To Kill A Mockingbird
1960,
original edition
Photo
R
Jacket
cover of Moby Dick
1851
Photo
S
Jacket
cover of Remaking Moby Dick
Photo
T
Trish
Harris
Copyright
granted by Trish Harris
Photo
U
John
Clare
1820
Public
Domain
Photo
V
Saul’s
Onversion to Paul on the road to Damascus
Oil
on canvas 1600-1601
Michelangelo
Merisi (or Amerighi) da Caravaggio
Public
Domain
Photo
W10
The
archetype of the Creator is a familiar image in Blake's work. Here, the demiurgic figure Urizen prays before the world
he has forged. The Song of Los is the third in a
series of illuminated books painted by Blake and his wife, collectively
known as the Continental Prophecies.
Public
Domain
Photo
W11
Hank
Lazer
Attributed
to Greg Jay
Copyright
granted by Hank Lazer
Photo
X
Back
jacket cover of JESUS WALKS THE SOUTHLAND
Photo
Y
Painting
of Jesus walking on water.
Unkown
attribution or artist.
Fair
Use Under the United States Copyright Law
Photo
Z
Jesus
walking on water.
Anonymous
Fair
Use Under The United States Copyright Law
Photo
ZA
Painting
of Jesus walking on water
Unknown
attribution of artist
Fair
Use Under the United States Copyright Law
Photo
ZB
Photo
38
Drew
Gray
Copyright
granted by Robert Gray
Photo
ZC
Boxes
of JESUS WALKS THE SOUTHLAND copies.
Copyright
granted by Robert Gray
Photo ZD
Lorna Dee Cervantes
Copyright granted by Lorna Dee Cervantes
Photo ZE
Lorna Dee Cervantes
Copyright granted by Lorna Dee Cervantes
Photo ZE
Sue
Brannan Walker, Poet Laureate of Alabama from 2004-2012, the Stokes
Distinguished Professor of Creative Writing at the
University
of South Alabama, and Editor/Publisher of Negative Capability Press.
Copyright
granted by Sue Brannan Walker.
Photo
ZF
Langston
Hughes at the Lincoln University in 1928
Credit:
Yale Collection of American Literature
Fair
Use
Public
Domain
Photo
ZG
Blake's
"A Negro Hung Alive by the Ribs to a Gallows", an illustration to J. G. Stedman's Narrative, of a Five Years' Expedition,
against the Revolted Negroes of Surinam (1796).
Public
Domain
Photo
ZH
Eastman
Johnson – the lord is my shepherd
Oil
on canvas
1863
Public
Domain
Photo
ZI
Celebration
cake for the publication of JESUS WALKS THE SOUTHLAND
Copyright
granted by Robert Gray.
Photo
ZJ
Painting
titled The Reader
Jean
Honore Fragonard
1770-1772
Public
Domain
Photo
ZK
Robert
Gray.
Copyright
granted by Robert Gray.
Photo
ZL
The
Robert Gray Family
Robert, Liam, Emma, and Kim
Copyright
granted by Robert Gray.
Photo ZM
The Robert Gray residence.
Copyright granted by Robert Gray.
Photo ZN
Robert Gray residence street.
Copyright granted by Robert Gray.
Photo ZO
The Robert Gray residence.
Copyright granted by Robert Gray.
Photo ZN
Robert Gray residence street.
Copyright granted by Robert Gray.
Photo ZO
School
integration Bernard School in Washington .D.C 1955
Thomas
J O’Halloran
Public
Domain
Photo
ZP
Black
Santa Clause
Attributed
to Robert Gray.
Copyright
granted by Robert Gray.
Photo
ZQ
Alexi,
a homeless man, in Prague since the fall of communism.
October
7, 2009
Attributed
to Ricardo Liberato
CCASA
2.0 generic
Photo
ZR
Depiction
of Jesus walking
Unknown
Fair
Use Under the United States Copyright Law
Photo
ZS
Side
view of Robert Gray
Copyright
granted by Robert Gray
Photo
ZT
W.H.
Auden
In
1939
Car
Van Vechten
LOC
PD
Photo
ZU
Robert
Gray amongst trees
Copyright
granted by Robert Gray
