• Category Archives Poetry
  • Books Along the Way

    Fall                                  Waxing Harvest Moon

    I have begun to accept that I will never read everything I want to read.   Books sit stacked up on the floor in my study; they lie on top of rows of other books on bookshelves;  all my 6702010-10-09_0461bookshelves are full and many have books piled on top of them.  Each one I want to read.  Some I want to use only as reference, but most I want to read cover to cover.  The books range in topic from fairy tales and folklore to basic scientific texts on biology and geology, from philosophy to theology, art history to renaissance life, china, japan, india and cambodia to single dictionaries and the multiple volumes of the OED and the Dictionary of Art.  Of course there is fiction, too, and poetry, works on historiography and works on the enlightenment.  This doesn’t count the 90 books I now have on my kindle, many fiction, but many non-fiction, too.

    When it comes to books and learning, I seem to not have an off button.  Maybe it’s a pathology, an escape from the world, from day to day responsibility, could be, but I don’t think so.  Reading and learning feel hardwired, expressions of genes as much as personal choice.  So it’s tough for me to admit that I have books here, in my own house, that I may never read.  A man has only so many hours in a day and I find spending any significant amount of them reading difficult.

    That always surprises me.  I love to read, yet it often feels like a turn away from the world of politics, the garden, connecting with family and friends, so it takes discipline for me to sit and read for any length of time.  Instead, I read in snippets, chunks here and there.   Even so, I get a lot read, finishing the Romance of the Three Kingdoms took a lot of dedication, for example.  One year, I put the books I finished in one spot after I finished them.  I don’t recall the number or the number of pages, but it caused me to sit back and wonder how I’d done it.

    Sometimes I fantasize about stopping all other pursuits, sitting down in my chair and begin reading through the most important books, the ones on the top of my list.  Right now that would 6702010-10-09_0460include the histories of Herodotus and substantial commentary.  The Mahabharata. Several works on Asia art.  A cabinet full of books on the enlightenment and liberalism.  Another cabinet full on calendars and holidays.  I will never do it.  Why?  Because I do have interests, obsessions maybe, that take me out into the garden or over to the State Capitol and the Minnesota Institute of Arts, the homes of the Woolly Mammoths and our children.  Kate and I will, I imagine, resume at least some of our SPCO attending when she retires and there will be travel, too.

    This relates to an odd self-reflection occasioned by Lou Benders story of my first day on the Ball State Campus.  According to him, there was a picture of the Student Body President, I reached out and touched it and told him, “I’m going to do that.”  Three years later I ran and lost for Student Body President.  The year was 1969.  Recalling this, I wondered if my intention, my ability to clarify my direction had waned.  Had I defocused, living my life with no clear intentions, drifting along, letting life happen?

    Then I recalled the moment I told Kate I wanted to write, the moment four years ago when I realized I had to put my shoulder behind the Great Work, creating a benign human presence on the planet, the moment I began to pester Deb Hegstrom for a spot in the junior docent class of 2005, the time when Kate and I decided to push our property toward permaculture-the harmonious integration of people, plants and animals in a specific spot in a sustainable way.  No, I’ve not lost my ability to focus.  Not at all.6702010-10-09_0462

    This life, the one I’m living now, is the one I’ve chosen to live, a life Kate and I have made together.  And that feels good.

    Who knows, maybe I will finish these books?  Who knows?


  • A Study in Shadows

    Beltane                                   Waxing Planting Moon

    My poem The World Still Smells of Lilacs will be printed in the upcoming Muse, the newsletter for MIA docents.  They (Bill and Grace) wanted an image to go with it, but one from the MIA collection.  It took a while to find one that worked well with it, at least for me.  This Study in Shadows is the one I chose.

    I”m honored they asked me.  Grace wanted to know how many poems I’ve written, “Oh, I don’t know.  Hundreds, I imagine.”  I’ve written poetry since high school, but lost all of my work through my senior year of college when my 1950 Chevy panel truck got stolen.  My poetry became an unwilling hostage, unceremoniously dumped I suppose.

    Since then, I’ve written poetry off and on, in this journal or that and I’ve never bothered to collect them.  I have one small booklet I printed on the computer as a holiday gift several years ago, but that’s it.  Pretty uneven work I’d say.  A few good ones here and there, a lot of therapeutic pieces, some just plain rambling.

    Another bee and garden weekend, plus chapter 16 of Wheelock, then, later on in the week, another 5 or so verses of Ovid.


  • The world still smells of lilacs

    Beltane                             Waxing Planting Moon

    from a difficult time in my life:lilacs-10340

    The world still smells of lilacs

    A star rises from my heart

    Into the dark, dark sky.

    You and I.

    As other celestial objects

    Wheel and slowly turn

    The star shines.  An urn

    Reflects the star light,

    It contains the dust

    what remains of us.

    The star o’er sheep once played

    A hope that grew

    From a babe into

    A savior, a christ,

    A man who loved and died.

    It watches as we are tried

    In the crucible of time

    And found wanton.

    Left for abandon.

    Oh, well.  I loved you once.

    The star traverses the sky

    Watching, as we die

    The death of personal crucifixion

    A penalty which seems too harsh.

    Yet, a bird sings on the marsh.

    The sun rises rosy-fingered,

    Eggs are hatching.

    Gates are latching.

    The world still smells of lilacs


  • Latin and Contemporary Art

    Spring                                                      Awakening Moon

    Had our Latin session with Greg at noon today.  I asked him if he thought my trying to translate Ovid now would hurt my learning.  He said, no, go for it.  But.  Get a latin text with a commentary and work out your translation to your satisfaction before you compare it to someone else’s.  So, I went on Amazon and found a 2-volume latin text with commentary.  They are on their way.  I’m excited.  I know I’ve got a long way to go before I’m a competent translator, if I ever make it to that level, but I can punt away at it.  He said to expect frustration.  Oh, I do.

    (from the Metamorphosis, Ulysses men turned into swine. 1591)

    After that into the Art Institute for the first of two lectures on the upcoming spring show, Until Now.    The lecture was excellent.  Docent training leaves out huge chunks of the world’s artistic tradition with a necessary focus on the art history of objects in the museum’s collection, but the biggest lacuna was contemporary art. I found the guest curator’s lecture very informative, a good background for an aspect of art history in which I feel very weak.

    Until Now is contemporary art in a large show and it combines with Art Remix which features museum contemporary works placed at provocative or evocative locations. David Ryan, curator of modern design, said years ago the museum would only purchase works of an artist who was dead.  This was to ensure that whatever work we purchased represented an important and/or mature example.  That policy ended a few years ago and the museum has begun collecting living artists.

    We have a new contemporary art curator and her initial job was to figure out how contemporary art fits into the MIA’s mission as an encyclopedic collection.  At the MIA we can place contemporary work in context, the art historical context which informed and informs artists working especially since WWII.  The Art Remix is an attempt to draw on the museum’s historical examples and use them as conversation starters about contemporary art as it has evolved out of the older works and how the older works can be illuminated, seen in a different way when viewed through the lens of later artist’s work.

    (a work by Kara Walker, African/American, 1998)

    The last hour of the day was a conversation about the Art Remix.  I found Liz Armstrong’s rationale for the Remix strong though I felt this first effort was uneven.  Some of it is very provocative, like the photographic panels in the Korean collection and the TV Buddha, which features a bronze buddha watching television, a television screen filled with a video camera turned on the Buddha statue and especially the Chinese Ming dynasty chair carved from a single block of marble and placed in the Wu family reception hall.  The works put in the Egyptian and African galleries (not the Shonibare, which I love) are not as effective for me.

    A day with a lot of learning.


  • On Not Celebrating St. Patrick

    Imbolc                                        Waxing Awakening Moon

    St. Patrick’s Day.  I’ve always felt that the Irish celebrating St. Patrick’s day is much like the Dodgers celebrating a Yankee World Series win or maybe more like Native Americans celebrating the coming of Christianity to the New World.

    Why?  The snakes St. Patrick drove out of Ireland represented the takeover of the ancient Celtic faith by the invading dogma of Roman Catholicism.  Not only did the R.C.s finish off the auld faith, but they did in a native Celtic version of Christianity that had a close relationship to Mother Earth and who offered to the church, Pelagius, a theologian who believed we were born good.  Augustine, yes, that Augustine, set out to crush Pelagianism and he succeeded.  In fact, Augustine was so successful that Pelagius rarely comes in church history at all.

    What I know of Celtic Christian spirituality would salute this poem by e.e. cummings that Scott Simpson quoted at our last Woolly meeting:

    O sweet spontaneous

    O sweet spontaneous
    earth how often have
    the
    doting
    fingers of
    prurient philosophers pinched
    and
    poked
    thee
    ,has the naughty thumb
    of science prodded
    thy
    beauty     how
    oftn have religions taken
    thee upon their scraggy knees
    squeezing and
    buffeting thee that thou mightest conceive
    gods
    (but
    true
    to the incomparable
    couch of death thy
    rhythmic
    lover
    thou answerest
    them only with
    spring)

  • A Bit of Metaphysics for the Early Afternoon

    Lughnasa                                  Waning Harvest Moon

    “There is no cure for birth and death save to enjoy the interval..” – George Santayana

    Could have come from the mouth of a Mexica poet.  I can’t find the poem but I keep coming back in my thought to their metaphysics which makes life the puzzle and death the pregnant, vital reality.

    In another view life is a momentary interlude between a sleep and a sleep.  This is a line from a poet who interested me a lot years back:  Charles Algernon Swinburne.  The line comes from his Atalanata in Calydon:

    …In his heart is a blind desire,
    In his eyes foreknowledge of death;
    He weaves, and is clothed with derision;
    Sows, and he shall not reap;
    His life is a watch or a vision
    Between a sleep and a sleep.


  • Machado, The Pathmaker

    Lughnasa                                Full Harvest Moon

    At about 8:00/8:30 pm I drove over to Than Do to pick up some take out.  At the end of our cul de sac, a bit above the tree tops, was a golden harvest moon.  It stopped me.  The moon always catches me, draws my breath  up from deep within, a rush of exspiration.  Many of us have it, a mystical connection to the lesser light, its waxing and waning, the crescent moon with venus nearby, the full red moon of a lunar eclipse, the outsized floating golden orb of an October full moon, even the dark sky of the new moon, pregnant.

    Many of my friends in the Woolly Mammoths devour poetry books.  I’m not a regular reader of poetry, more episodic, sometimes in binges.  I get onto poets through odd routes, like Antonio Machado whose poem, Pathmaker, now occupies the upper left of this webpage.  Paul Strickland has a mentioned Machado many times.  Machado is one of many non-English language poets Robert Bly has translated.

    Machado, whom I had not read, appeared in an article I read about attempts to name the crimes of the Franco era in Spain and the strange reluctance of Spaniards to talk about the Spanish Republic which Franco overthrew, then destroyed with brutal force.

    Machado is a poet/saint of the Republicans, buried in exile across the northern Spanish border in France where many of the Republicans fled when Franco defeated them in Spain.  The author of this article, a resident of  Barcelona, wrote of a moving celebration at Machado’s grave, a remembrance for those who fought and died, lost forever to their loved ones by burial in mass graves.

    A single woman began chanting this poem, the Pathmaker, and all the others joined in, there at Machado’s tomb.

    When I read it, I realized it was the perfect poem for Ancientrails.

    Pathmaker, the path is your tracks,
    nothing else.

    Pathmaker, there in no path,
    The path is made by walking.

    And turning the gaze back,
    Look on the trail that never will be
    Walked again.

    Pathmaker, there no path,
    Only the wake on the sea.