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Mirabell: Books of Number

First edition cover
Author	James Merrill
Cover artist	Dorothea Barlow
Language	English
Series	The Changing Light at Sandover
Genre	Epic Poetry
Published	1978 Atheneum
Publication place	United States
Media type	Print (hardcover)
Pages	182 pp
ISBN	0-689-10901-6
OCLC	644651034
Preceded by	The Book of Ephraim
Followed by	Scripts for the Pageant

Mirabell: Books of Number is a volume of poetry by James Merrill (1926–1995) published by Atheneum Books in 1978. It is the second of three books which together form the epic 560-page poem, The Changing Light at Sandover, which was published as a whole in 1982.

Mirabell won the 1979 U.S. National Book Award for Poetry. It was the fourth time Merrill was nominated and the second time he won.

Style & Structure

Mirabell is divided into ten sections, each represented by an Arabic numeral (starting with '0' and ending with '9') and corresponding to the numbers on a Ouija board. The critic Stephen Yenser has noted that each section begins with a pun on its corresponding number. For example, section 5 begins with the word "Go" which matches the Japanese transliteration for 5.

The book takes place over several séances at a Ouija board in a "domed, round, red room in Stonington" during the summer of 1976 All messages received from supernatural characters via Ouija board appear in small capitals and are broken up by lowercase poetic commentary. Deceased humans always speak in decasyllabics, while the bat-like fallen angels speak in fourteen-syllable lines to enact a "metrical fall from grace."

Many have noted the difficulty of understanding Mirabell because of its allusive density, but the critic Helen Vendler argues that "the test of such a poem is not in the first reading ...but in the reading that takes place once the scheme, the family relations, and the life histories in question have become natural and familiar."

Characters

The only recurring characters who are visible are James Merrill and his life partner, David Jackson. There are many other characters, however, who are unseen; they exist at different stages within a cosmological hierarchy—(many are deceased friends)—ringing the red room "to insulate the mediums with their affection from the lethal power of fifteen other 'beings' also present."

Timothy Materer has argued that Merrill's viewpoint cannot explicitly be connected to that of his character's. For instance, Merrill did not consider his mythology to be real—"except in recurrent euphoric hours when it's altogether too beautiful not the be true." For this reason, the critic Joseph Parisi draws a distinction between James Merrill the person and "JM" as he appears in The Changing Light at Sandover.

The critic Judith Moffett has called the supernaturally-occurring deceased friends "crucial" to the poem because of the "human interest they provide" which repeatedly serves as "providential relief from...pages of offbeat 'science' and 'theology.'"

The interruption provided by these friends, along with the use of caesura has allowed critics to find a motif of fragmentation, noting that "the word 'break,' in conjugated or participle form, recurs throughout Mirabell...it is a rupture, we learn, that necessitates the surgery DJ must undergo...the pain of the breakage constitutes the cost, for him, of admission to the celestial seminars...JM, for his part, has been told he will have an 'artistic breakthru.'"

The four main characters—James Merrill, David Jackson, Maria Mitsotáki (deceased), and W.H. Auden (deceased)—are chosen for inclusion in the spiritual education which comprises Mirabell for their childlessness, thus substituting virtues of the mind and heart for the "civic and familial and marital values usually espoused by the epic." The critic Helen Vendler sees Auden and Maria as parental figures: "They are people who call JM and DJ "mes enfants" (Maria, known as 'Maman') or 'my boys' (Auden)." In this way, the book can be seen as a long farewell to parental figures, especially since the death of David Jackson's parents kicks off the narrative.

The strangest characters in Mirabell are Merrill's bats, alternately referred to as "men b4 mankind", "the sons of cain", "fallen angels", and "antimatter. The critic David Kalstone has noted that these bats "experienced adversaries and instructors whose clashing voices cast an odd light on the traditional speaker" by introducing "potentially inhuman aspects of mind and power".

Summary

Book 0

The narrative opens with a description of "Household decoration" for James Merrill's residency in Stonington, CT. David Jackson (Merrill's life partner) hauls an "immense Victorian mirror," their parlor is outfitted with a "7 x 10 Chinese carpet" patterned with "blue-eyed bats"; their friend ("Hubbell") designs a wallpaper for them to match the bats in the Chinese carpet.

Then David Jackson's parents, "Matt and Mary" visit Merrill and their son in Athens. Matt and Mary are days away from death. Since their friends, Chester Kallman and Maria Mitsotáki, have died in "the previous year", James Merrill and David Jackson return to the Ouija board used in The Book of Ephraim. Maria commends "DJ's old parents, now the end is near". Sure enough, Mary dies in the hospital, after which James Merrill and David Jackson make contact with the latter's parents via Ouija board. According to the theology outlined in the first part of The Changing Light at Sandover, Matt will be reborn on Earth for "2 more lives".

After some time, Ephraim, their Familiar spirit, alerts Merrill that he has been chosen by "men b4 mankind" for an "artistic breakthrough"; his task will be to write "poems of science". Merrill reads several scientific texts for inspiration but none comes.

The section closes as Merrill and Jackson make plans to visit Avebury ("both a holy and a homely site") and Stonehenge.

Book 1

The "men b4 mankind" (mentioned in Section 0 of Mirabell and Section U of The Book of Ephraim) reveal themselves to be "the sons of cain" and have the physical appearance of bats. Paradoxically, they are also fallen angels who caused the appearance of black holes and serve as the negative electrical charge and antimatter itself. Maria Mitsotáki and Ephraim interrupt to speak to "JM" and "DJ" (characters are often referred to by their initials); Maria voices encouragement; Ephraim voices fear and disdain, a feeling shared by "DJ".

James complains about the bats' use of veiled and nonspecific language, causing them to fly off in anger.

David Kalstone, a friend of Merrill's, comes to visit; at the Ouija board, the bats are silent. Instead, Kalstone is introduced to his heavenly representative, Luca Spionari, a sixteen-year-old "lissome...stripling" from Milan.

The next day, the bats return to tell of fourteen anchor sites that they left when they abandoned Earth (Avebury is one of these sites). They also describe the Egyptian pyramids as exact prisms of light reproduced in stone; the poem which James Merrill is creating will be a similar prism of light, but textual instead of physical.

The section closes as Ephraim reappears to assure protection from these bats should they seek to cause harm. Among those defending is Ephraim and many of Merrill's deceased friends: Maya Deren, Hans Lodeizen, Marius Bewley, W. H. Auden, and Chester Kallman. W.H. Auden and Maria Mitsotáki will provide Merrill with routine commentary on lessons given by the bat-like sons of cain as Mirabell progresses.

Book 2

The section opens as the bat who has been speaking reveals he has a number—741—though he ranks among "a figuratively numberless host" and is not always the creature with whom Merrill and Jackson converse. For instance, they had earlier spoken to 40076, but he abandoned them because of their rudeness.

Merrill uses part of this section to define important words in the theology which these fallen angels are slowly sketching for him: Jew is described as a "density in man par excellence" (not to be confused with the ethnicity); soul is the 12% of man which is not "Chemistry, Environment, / Et al."; the Research Lab (or R/Lab) is a "precinct of intense / Activity" and contains an array of mathematical formulae directed by 741's superiors and where there is "No raw material / Other than souls ranging in quality". Souls of the absolute highest quality belong to a select five, "immortals" who retain "through each rebirth a perfect knowledge of all their previous lives...Certain incarnations of the Five having been in one life or another: Montezuma, Galileo, Mozart, Dag Hammarskjöld, Einstein." These Five "pursue their leadership / under various guises"—such as space research. Merrill's job as "scribe" will be "to help speed the acceptance of the 5's work".

741 goes on to discuss the population explosion in recent years: he says that the R/Lab needs five million souls each day for placement in new-born humans, but because there is only a finite number of souls, his superiors have needed to resort to "the souls of domestic animals most recently the rat". The lab worries about "a concerted use of atomic / weaponry now falling into hands of animal souls". Such change is concerning, but equally concerning is the knowledge that the R/Lab technicians used to see 100 years ahead, but lately, increasing human smog has limited their visibility to thirty years into the future.

Book 3

741 introduces another type of soul, one separate from the animal and human souls already described: plant (or vegetable) souls. Whereas animal densities might add a certain "joie de vivre", these plant densities endow its bearer with a "benign lack of destructive rivalry". Unfortunately, a slow and unknown process is weakening the vegetable world, so the R/Lab has begun to experimentally manufacture these plant densities via cloning. The critic Judith Moffett has clarified that cloning "often seems to signify...something more like modify or program". Maria, who was heavily interested in gardening during her life, is destined to join this world of plants.

But something stranger is afoot. 741, heretofore known to be unfeeling like the rest of his vampiric acquaintances, admits that he has come to love Merrill and Jackson—admits that he is filled with "is it manners?" This emotional development is matched by a formal one: 741 transforms into a peacock within the "realm of no appearances".

The five of them (Mitsotáki, Auden, Merrill, Jackson, and 741) are now pictured as a unified group—equal in number to the holy '5' discussed earlier. With this, the notion of "v work" is cryptically inaugurated; 741 describes it as "work guided by a higher collaboration". The five elite souls (mentioned in section 2.5) are symbolically connected to the five protagonists, the five vertices on a pyramid, and the four elements (with "nature" serving as a fifth). Five will later be symbolically connected to the "4 seasons & 1 sun".

Book 4

741 says that the first animals on Earth were "wingless creatures...crawling and serpentine". Though these creatures were hairless, they resembled the mythic centaur and invented 741's race to carry "their word above the trees: signals...hovering over clear land areas where they cd feed".

Eventually, 741 and his race decided to kill the immortals via atomic blast to prevent the more evolved from tormenting the weak. The bats left, rarely returning to make vital repairs to their anchor sites. This neglect leads God B to erase traces of 741's kin and to destroy the last centaurs (who, by this point, had evolved into Dinosaurs).

W.H. Auden and Maria Mitsotáki encourage James Merrill and David Jackson to make contact with 40076 (mentioned at the beginning of Section 2); 741 is temporarily demoted because his listeners doubted him, but prophesies laurels for Merrill's poem, saying that he will write another long poem after this one. 741 then says that Akhnaton was the first of "the 5" to be cloned for repurposing in future generations; he also describes the commencement of a "no accident" clause which will be elucidated later.

The section closes as Maria Mitsotáki and James Merrill learn that atomic energies have affected their soul densities; Maria's because of the radiation therapy she underwent for breast cancer. James' because of the mushroom cloud from Hiroshima.

Book 5

Book 5 clarifies many previously touched-upon topics: Human soul densities can be destroyed by gamma rays; "God B is history is Earth"; the 'day of the scribe' is at hand. Merrill, as scribe, will create a work that will prevent destruction, though when he and Jackson ask how this can be when so few people read books, 741 returns with a customary reply about the unimportance of the masses.

741 tells Merrill and Jackson that religion falls into his "no-accident clause" by keeping starved sub-populations from dropping atomic bombs to get food. Another "no-accident" is the apparition of plagues, which (in Merrill's mythology) do not happen accidentally, but are caused by 741 and his ilk to thin populations and maintain rurality. Most importantly, it seems to mean that what happens to R/Lab souls "is planned and purposeful to the minutest detail." James begins to apply this "no-accident" clause to his own life history.

The section closes on the hopeful suggestion that "three decades hence," there will still be "green atlantan fields". 741 assures that Biology will win out over Chaos.

Book 6

The section opens with Merrill visiting David Jackson in Boston; Jackson is not in Stonington with Merrill because he has just undergone surgery on his back, but "all's well." Jackson recalls the sensation of climbing a ladder; (Jacob has an identical dream in Genesis 28).

Book 6 also shows Merrill and Jackson coming to the horrifying conclusion that Maria Mitsotáki (who underwent radiation therapy for breast cancer) is appearing in these séances because she, like 741, has no soul left—"she's no longer human!" Radiation's interaction with the soul has already been alluded to, but Merrill and Jackson do not recognize the full extent until now: radiation slowly stripped Maria's soul, reducing her "to essences" and joining her "to infinity". The process of these lessons will enact a similar stripping process on James and David, the 'light' of radiation being substituted with the 'light' of knowledge. Through this 'stripping,' god b is either changing man into his agent or preparing a new species, though which one is not exactly clear.

Auden and 741 also instruct JM and DJ on different colors (red, yellow, blue, green) and their exact symbolism within this ever-expanding mythology. Amid these never-ending lessons, DJ feels depressed and shut off from life.

The section closes as Merrill and Jackson are told that major literary works such as The Waste Land, The Divine Comedy, and works by Arthur Rimbaud were all written with the invisible guiding hand of 741 and his legion of bats. These literary masterpieces are part of the "v-work" mentioned in Book 3. Merrill's poem will be a completion of the "v-work" started by his deceased friend, Hans Lodeizen.

Book 7

Akhnaton, first of 'the 5' was a "double soul" with Nefertiti, and the R/Lab was created to clone their soul densities. Towards the end of their lives, Akhnaton "slept only / druggd, nefnot at all". Thus, Nefertiti "drew / the knife over their 4 wrists." God B allowed them to die since they "outlive their usefulness". Under these conditions, 741 endorses suicide so as to get their souls recycled as soon as possible.

James Merrill decides on Mirabell for 741's name, taken from William Congreve's The Way of the World. 741 (henceforth referred to as Mirabell) says that he likes his name and that there will be ten more lessons until the end of Mirabell: Books of Number. The first of these lessons is on the subject of the soul.

The "base of the soul" is crafted by drawing on the energy sources previously mentioned as 'densities' and stemming from the four elements.The second of ten 'last lessons' is on the subject of the body, which is pictured as the "soul's dwelling place   the house calld man/psyche".

Book 8

References

1. "National Book Awards – 1979". National Book Foundation. Retrieved 2012-04-06.
   (With essay Megan Snyder-Camp from the Awards 60-year anniversary blog —one "Appreciation" covering both of Merrill's poetry awards.)
2. Merrill, James (1980). Mirabell, books of number. New York: Atheneum. ISBN 0-689-11167-3. OCLC 7967661.
3. Yesner, Stephen (October 1981). "Recent Poetry: Five Poets". Yale Review. 71 (1): 564.
4. ^ Moffett, Judith (1984). James Merrill, An Introduction to the Poetry. New York. ISBN 978-0-231-05210-8.{{cite book}}: CS1 maint: location missing publisher (link)
5. Merrill, James (2018). The Book of Ephraim. Annotated by Stephen Yenser (1st ed.). New York: Knopf. ISBN 978-1-5247-1134-4. OCLC 993642099.{{cite book}}: CS1 maint: date and year (link)
6. ^ James Merrill. Harold Bloom. New York: Chelsea House. 1985. ISBN 0-87754-618-5. OCLC 11865910.{{cite book}}: CS1 maint: others (link)
7. ^ D., Berger, C. Lehman, (1983). James Merrill : Essays in Criticism. Cornell University Press. ISBN 0-8014-1404-0. OCLC 966032211.{{cite book}}: CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)
8. Materer, Timothy (2006). "James Merrill's Polyphonic Muse". Contemporary Literature. 47 (2): 207–235. ISSN 0010-7484.
9. Merrill, James; Vendler, Helen. "James Merrill's Myth: An Interview | Helen Vendler". ISSN 0028-7504. Retrieved 2023-03-04.
10. Parisi, Joseph (1979). Merrill, James (ed.). "Ghostwriting". Poetry. 135 (3): 161–173. ISSN 0032-2032.
11. ^ Merrill, James (2011). The changing light at Sandover : with the stage adaptation Voices from Sandover. J. D. McClatchy, Stephen Yenser. New York. pp. 93–276. ISBN 978-0-375-71174-9. OCLC 757587923.{{cite book}}: CS1 maint: location missing publisher (link)

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