Mirabell: Books of Number
| Company type | Poetry collection |
|---|---|
| Industry | Literature, Poetry |
| Founded | 1978 |
| Founder | James Merrill |
| Products | Poetry book |
Mirabell: Books of Number is a poetry collection authored by James Merrill (1926–1995), released by Atheneum Books in 1978. It represents the middle installment of a trilogy that comprises the extensive 560-page poem The Changing Light at Sandover, which was fully published in 1982.
In 1979, Mirabell secured the U.S. National Book Award for Poetry, marking Merrill's second victory and his fourth nomination for this prestigious honor.
Style and structure
The structure of Mirabell consists of ten parts, labeled from 0 through 9, each aligned with the numbers found on a Ouija board. Critic Stephen Yenser observes that every section commences with a wordplay related to its number; for instance, section 5 opens with "Go," reflecting the Japanese pronunciation of the number five.
The narrative develops through a series of séance sessions conducted using a Ouija board in a domed chamber located in Stonington, Connecticut, during the summer of 1976. Supernatural communications are presented in small capital letters, interlaced with poetic reflections in lowercase. Human spirits who have passed on speak in ten-syllable lines (decasyllabics), whereas fallen angels communicate through fourteen-syllable verses, symbolizing their "metrical fall from grace."
Although recognized for its rich intertextual references, critic Helen Vendler suggests that the poem’s intricacies become apparent only after familiarity with its framework and characters, rather than upon an initial reading.
Characters
The only recurring visible figures are James Merrill himself and his partner David Jackson. A multitude of invisible entities populate a cosmological hierarchy—many being deceased acquaintances—who gather around the red room to protect the mediums from the detrimental influence of fifteen other 'beings' present during the séances.
Timothy Materer contends that Merrill’s personal perspective diverges from that of his poetic persona. Merrill did not consider his mythological narrative as literal truth, except during moments of ecstatic transcendence. Critic Joseph Parisi differentiates between James Merrill as an individual and "JM," the character depicted within The Changing Light at Sandover.
Judith Moffett emphasizes that the deceased friends who appear supernaturally are "essential" for injecting human warmth and providing relief amid dense theological and scientific passages. Their interjections, coupled with frequent use of caesura, create a recurring motif of fragmentation; the theme of "break" recurs as a symbol of disruption and necessary suffering, mirroring David Jackson’s hardships and JM’s foretold "artistic breakthrough."
The quartet of principal characters—James Merrill, David Jackson, Maria Mitsotáki (deceased), and W.H. Auden (deceased)—were chosen due to their childlessness, underscoring intellectual and emotional qualities rather than conventional epic themes like family lineage. Helen Vendler interprets Auden and Maria as parental archetypes who address JM and DJ as "mes enfants" or "my boys," framing the poem as an extended farewell to parental figures, particularly poignant following the passing of David Jackson’s parents.
Among the most distinctive entities are Merrill’s bats, described as "men b4 mankind," "the sons of Cain," "fallen angels," and "antimatter." Critic David Kalstone observes that these bats serve both as antagonists and teachers whose conflicting voices introduce alien dimensions of intellect and power, thereby challenging the conventional viewpoint of the speaker.
Book 0
The story opens with a depiction of home decor at James Merrill's home in Stonington, CT. David Jackson, Merrill’s partner, adjusts a large Victorian mirror; their sitting room is adorned with a "7 x 10 Chinese carpet" featuring motifs of "blue-eyed bats," while their acquaintance Hubbell creates wallpaper that complements the design.
David Jackson’s parents, "Matt and Mary," come to visit Merrill and their son in Athens. Nearing death and following the recent losses of friends Chester Kallman and Maria Mitsotáki, Merrill and Jackson resume their use of the Ouija board from The Book of Ephraim. As Matt and Mary approach death, Maria praises them. After Mary dies in the hospital, Merrill and Jackson reach out to her spirit via the Ouija board. According to the theology previously introduced, Matt is destined to be reincarnated on Earth for "2 more lives."
Their Familiar spirit, Ephraim, reveals that he has been selected by "men b4 mankind" for an "artistic breakthrough" aimed at composing "poems of science." Merrill investigates scientific literature for guidance but finds no suitable inspiration. This section concludes with plans to visit Avebury and Stonehenge.
Book 1
The "men b4 mankind" identify themselves as "the sons of cain", depicted with bat-like features. Paradoxically, they are also fallen angels linked to black holes and embody both negative electrical charge and antimatter. Maria Mitsotáki offers words of encouragement; Ephraim voices fear and contempt, sentiments echoed by Jackson.
James Merrill expresses frustration at the bats’ ambiguous speech, provoking their ire and eventual withdrawal.
Their friend David Kalstone arrives; during a Ouija session, the bats remain silent. Instead, Kalstone encounters his celestial guide, Luca Spionari, a sixteen-year-old from Milan.
Subsequently, the bats return to describe fourteen anchor locations abandoned on Earth (including Avebury) and portray the Egyptian pyramids as prisms channeling light through stone. Merrill’s poem aspires to function as a similar textual prism.
Ephraim reappears to guarantee protection from harm caused by the bats. Defenders include Ephraim alongside several deceased friends: Maya Deren, Hans Lodeizen, Marius Bewley, W. H. Auden, and Chester Kallman. W.H. Auden and Maria Mitsotáki provide ongoing commentary on lessons imparted by the bat-like sons of Cain throughout Mirabell.
Book 2
The bat speaker identifies himself as number 741, one among a vast legion, though not always the same entity Merrill and Jackson communicate with. Earlier interactions involved 40076, who departed due to their discourtesy.
Merrill clarifies essential theological terms introduced by these fallen angels: Jew is defined as a "density in man par excellence" (separate from ethnic identity); soul represents the 12% of man beyond "Chemistry, Environment, / Et al."; and the Research Lab (R/Lab) is described as a "precinct of intense / Activity" containing mathematical formulas governed by 741's superiors, utilizing "No raw material / Other than souls ranging in quality." The finest souls belong to five "immortals" who retain perfect knowledge through successive rebirths, incarnated as historical figures such as Montezuma, Galileo, Mozart, Dag Hammarskjöld, and Einstein. These Five continue their leadership roles under various guises, including involvement in space research. Merrill’s function as "scribe" is to expedite acceptance of the Five's work.
741 discusses the recent surge in human population growth, explaining that the R/Lab requires five million souls daily for newborns. Due to limited soul availability, superiors have resorted to using "the souls of domestic animals—most recently the rat." The lab expresses concern over "a concerted use of atomic / weaponry now falling into hands of animal souls." Moreover, while R/Lab technicians once predicted 100 years ahead, increasing human smog has reduced their foresight to thirty years.
Book 3
741 introduces plant (vegetable) souls as distinct from animal and human souls. While animal densities contribute a certain "joie de vivre," plant densities convey a "benign lack of destructive rivalry." However, a gradual decline threatens plant life, prompting R/Lab experiments in producing plant densities through cloning—a process potentially involving modification or programming. Maria, who enjoyed gardening during her lifetime, is destined to enter this plant realm.
Unexpectedly, 741, previously emotionless like other vampiric entities, admits affection for Merrill and Jackson with the phrase "is it manners?" This emotional development coincides with a formal transformation: 741 becomes a peacock within the "realm of no appearances."
The group comprising Mitsotáki, Auden, Merrill, Jackson, and 741 now mirrors the holy Five mentioned earlier. This initiates the idea of "v work," defined as "work guided by a higher collaboration." These five elite souls symbolically correspond to these five individuals—the vertices of a pyramid, representing the four classical elements plus nature as a fifth. Later symbolism connects five to "4 seasons & 1 sun."
Book 4
741 recounts that Earth's earliest animals were "wingless creatures...crawling and serpentine". Though lacking hair, they resembled mythic Centaur figures and created 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 initiated an atomic blast aimed at killing immortals and preventing evolved beings from tormenting weaker ones. The bats withdrew afterward, seldom returning except to maintain anchor sites; this led God B to erase 741's kin and obliterate the last centaurs (which had evolved into Dinosaurs).
Encouraged by W.H. Auden and Maria Mitsotáki, James Merrill and David Jackson contact 40076; due to skepticism 741 is temporarily demoted but predicts Merrill will compose another long poem. 741 reveals that Akhnaton was first among “the 5” cloned for future purposes and introduces a "no accident" clause explained later.
The section ends with Maria Mitsotáki and Merrill recognizing that atomic energies have impacted their soul densities—Maria’s through radiation therapy for breast cancer, James’ from Hiroshima’s mushroom cloud.
Book 5
Book 5 elucidates key ideas: Human soul densities can be destroyed by gamma rays; "God B is history is Earth"; and the 'day of the scribe' approaches. Merrill’s role as scribe is to produce a work preventing destruction despite limited readership; 741 dismisses widespread indifference.
741 explains religion falls under his “no-accident clause” by preventing starving populations from launching atomic bombs for sustenance. Plagues are also deliberately orchestrated by 741 and allies to reduce populations while preserving rural areas. Crucially, events affecting R/Lab souls are meticulously planned down to minute details. Merrill begins applying this “no-accident” principle to his own life.
The section concludes optimistically that "three decades hence," "green atlantan fields" will endure. 741 assures that Biology will triumph over Chaos.
Book 6
This segment opens with Merrill visiting David Jackson in Boston; Jackson is recuperating from recent back surgery away from Stonington but recovering well. Jackson recalls climbing a ladder sensation reminiscent of Jacob's dream in Genesis 28.
Merrill and Jackson understand that Maria Mitsotáki—who underwent radiation therapy for breast cancer—appears in these séances because she has lost her soul like 741, rendering her “no longer human.” Radiation has stripped Maria’s soul down to "essences", linking her "to infinity". This foreshadows similar soul loss for James and David where radiation’s 'light' is replaced by knowledge’s 'light.' Through this 'stripping,' god b might be transforming humanity into his agent or preparing a new species; however, outcomes remain uncertain.
Auden and 741 also instruct JM and DJ on color symbolism (red, yellow, blue, green) within this evolving mythology. Amid these teachings, DJ experiences feelings of depression and isolation.
The section ends with Merrill and Jackson learning that major literary works—The Waste Land, The Divine Comedy, and writings by Arthur Rimbaud—were invisibly guided by 741 and his legion of bats. These masterpieces form part of the "v-work" introduced in Book 3. Merrill’s poem intends to complete the "v-work" begun by his late friend, Hans Lodeizen.
Book 7
Akhnaton—the first among 'the 5'—was a “double soul” with Nefertiti; together they founded the R/Lab cloning their soul densities. Near death Akhnaton “slept only / druggd,” while Nefertiti remained awake ultimately “drew / the knife over their 4 wrists.” God B allowed their deaths as they had "outlive[d] their usefulness." Under these circumstances,741 endorses suicide to hasten soul recycling.
James Merrill chooses Mirabell as 741's name inspired by William Congreve's play The Way of the World. Mirabell consents and announces ten additional lessons before concluding Mirabell: Books of Number. The first lesson concerns the soul.
The "base of the soul" consists of energy sources called 'densities,' associated with the four classical elements. The second lesson addresses the body described as "the soul's dwelling place the house calld man/psyche".
Book 8
Mirabell traces cultural evolution from early hominid markings through language development culminating in foundational texts such as the Bible, the Koran, and the Homeric epics. He instructs Merrill and Jackson on weather phenomena emphasizing that "any imbalance is...man's work".
Mirabell urges cessation of atomic testing so that atoms may be "be returned / to the [R/Lab] & the uses of paradise". He advocates limiting family size to two children per couple to curb overpopulation while lamenting humanity’s failure to restrain primal reproductive urges despite Nature’s directive.
Prior to an upcoming 'mooncycle', an angel will appear during séance sessions; however,Merrill and Jackson must avoid smoking, drinking alcohol, or consuming meat for 24 hours so that they may offer their "unclouded reason and...total reverence" during contact.
Mirabell defines human imagination as originating from 's/o/l' or 'source-of-light'. Shortly afterward Robert Morse—a visitor—dies. Judith Moffett observes that lessons from late Book 8 through Book 9 become increasingly lyrical and lucid.
Book 9
Before Mirabell’s final lesson, Merrill and Jackson share a picnic. Maria expresses enthusiasm about Merrill’s developing poem while James wishes it reflected his own voice more than Wystan's or Mirabell's. Auden advises him to "think what a minor / part the self plays in a work of art".
Mirabell—now elevated within the cosmological hierarchy—reveals Ephraim (from The Book of Ephraim) was once his pupil. Two days before an angelic visitation Mirabell delivers his final lesson reiterating purification instructions from Book 8.
On angel Michael’s arrival at 5:00 PM during séance sessions he defines God as "the accumulated intelligence in cells since the death of the first distant cell". The book closes with Michael commanding Merrill and Jackson to gaze "into the red eye of your god!"
Literary influences
Critic David Lehman proposed that readers might interpret Mirabell: Books of Number's extensive undead characters as analogous to The Rape of the Lock's “mock-heroic machinery,” questioning its scientific grounding while deeming it somewhat “rather silly.” Alternatively,Merrill’s Ouija board use can be viewed as a Jungian tool fostering creative insight akin to W.B.Yeats’ noting his wife’s sleep-talking episodes.Lehman contends dedicated readers recognize this ritualistic process as preparation for visionary communion with divinity.
Helen Sword situates Merrill’s supernatural themes within broader literary traditions citing Rainer Maria Rilke's planchette experiments alongside H.D.’s communications with deceased RAF pilots foretelling nuclear catastrophe.Sylvia Plath also explored Ouija dialogues in her poetry.
Helen Vendler identifies specific literary influences acknowledged by Merrill including Dante,the four Apostles,Buddha,Muhammad,and later figures such as John Milton,William Blake,Victor Hugo,and W.B.Yeats.Critics Edmund Whiteand Joseph Parisi draw parallels between Mirabelland Paradise Lost.
David Wagoner places Merrill's style amid traditions including John Ashberyand John Barthhighlighting his useof irony anticipating critique while maintaining authorial command.Joseph Parisi likens Mirabellto The Magic Flute,both blending "parody,pastiche,andhigh seriousness" within moral quests markedby unexpected turns.David Bromwich emphasizes Merrill's “buoyancy,” comparing his verse with Oscar Wildeand Jean Cocteau’s Orpheuslinking itto an autobiographical search infused with supreme themes.Bromwich cites works by Wallace Stevens suchas Notes Toward a Supreme Fiction ,Paterson,and The Cantos noting shared trial-and-error cosmogonyand important messages from key figures.Finally David Kalstone draws parallels between Merrill’s chiropteran “men b4 mankind”and Richard Wilbur’s poem “Mind.”
Critical reception
CriticHelen Vendler observes Mirabell“shares with all systems—from Leviticusto The Bookof Mormonand Melville's cetology—a sheer willingnessto bore,” framing thisas stylistic expansion rejecting“exclusively beautiful.”David Wagoner was less favorable describing itas“inartistic”with“haphazard”structureand muted lyricism.Harold Bloom initially criticized its lengthy doctrinal passageswishing formore poetic commentarybut later praised its“coherenceandsplendor.”David Bromwich agreedwith Bloom’s early view regrettingMerrill's preference forextended dialogue over human eloquence.Joseph Parisi likens Mirabel lto an opera seria where tedious doctrine functions like recitativo essential for narrative progression making sparse poetic commentary more striking.Reviewer Robert Shaw acknowledged its“beautiesand perplexities” but found doctrine tiresome.Shaw also suggested campy conversations might alienate readers due toa cliquish tone.Dana Yeaton echoed criticism regarding limited relatable content in The Changing Light at Sandover trilogy.Stephen Spender elaborated on camp cliquishness but noted its“strategic advantages,” enablingMerrillto employ rococo-style double entendre.Writing for The New York Reviewof Books Spender describedMerrill's workas“complexandelaborate fantasy”with beautiful insightsand technical virtuositybut lacking unifying vision.Daisy Aldan called Mirabell“perplexing,” initially presenting brilliant societal panorama but ultimately seeming pretentiousand fascisticin claimsof absolute truths.Judith Moffett argued it should be valued notfor its Truthbut exceptional poetic scopeand technical skill surpassing much twentieth-century poetry.Edmund White praisedMerrill's verse aselectricwith alternating currents ofsymphathyand scornthough noting moments where scorn bordered on cruelty.