• Category Archives Poetry
  • Multitudes

    Winter                                                                      Cold Moon

    walt-whitman-i-contain-multitudes

    In the Nix (see post below) the author Nathan Hill takes a side excursion into the difficult, thorny problem of the self. The idea he presents helped me, gave me a middle ground beyond the no-self notions of the Buddha and several contemporary psychologists and philosophers and the Western view of one true self.

    The dialectic between no-self and one true self has always found me much closer to the one true self pole. It’s the one that I accept intuitively. In fact, it was the unquestioned truth until mid-college, so unquestioned that any other idea seemed literally absurd.

    “Oh, that’s her true self.” We might say this when we see someone angry, apparently peeling back the onion, layers of false selves, to reveal the enduring self located, well, somewhere; or, when some other extreme behavior allows us, or so we think, to peer into the interior of another. This is the radical western reductionist view of the self, perhaps linked to the notion of soul, the essence of a person.

    The Buddhist notion, which I don’t pretend to understand well, posits no I, no we, only a consciousness that responds to whatever shows up in the present moment, our self a narrative, a story we tell ourselves, but having no “real” existence.

    In Hill’s notion there is a third, perhaps a middle way, between these two poles. A character says, oh, her true self has been hidden by false selves. No, Hill’s other character says, not by a false self but by another of her true selves. Ah. Not split personality or multiple personality, not that idea, rather the idea that we each have more than one “true” self.

    This makes so much sense to me. The self that writes this blog is the writing me, the self that wants somehow to turn my inside out so others can see in. I have a husband self who acts in relation to Kate and to the history of relationships I’ve had. There is a grandparent self brought into existence by Ruth and Gabe. A Woolly self. A friend self, perhaps as many friend selves as I have friends. There is an art lover self, a physical self focused on the body, a reading self, too, who willingly opens all these selves to influence by another. Each of these true selves, and many others, have their own history, their own agenda. You might call these selves the specific wanderer on each of my several ancientrails.

    Given the quote above from Whitman, I’ll call this the Whitman theory of self. It is, for now, the one to which I adhere.

     


  • There Will Be Stars

    Yule                                                                               New (Stock Show) Moon

    There Will Be Stars

    “There will be stars over the place forever;
    Though the house we loved and the road we loved are lost,
    Every time the earth circles her orbit
    On the night the autumn equinox is crossed,
    Two stars we knew, poised on the peak of midnight
    Will reach their zenith; stillness will be deep;
    There will be stars over the place forever,
    There will be stars forever, while we sleep.”


    By Sara Teasdale


  • Spring

    Imbolc                                      Black Mountain Moon

    “Come, fill the Cup, and in the Fire of Spring
    The Winter Garment of Repentance fling:
    The Bird of Time has but a little way
    To fly–and Lo! the Bird is on the Wing.”
    –  Omar Khayyám

    March 1st is the beginning of meteorological spring. The three coldest months of the year are over and the next three are a transition between the cold of winter and the heat of the growing season, the three warmest months of June, July, August. Meteorological spring, though, is a creature of averages, a soulless thing with no music. I prefer the emergence of the bloodroot (in Minnesota) as the true first sign of spring.

    On March 20th Imbolc will give way to Ostara, the Great Wheel’s spring season, on the day of the vernal equinox.

    I do not yet know the traditional first signs of spring for the montane ecosystem, but I will. Nor do I know the tenor, the rhythms of the seasonal change here in the mountains. I look forward to learning them.

    I’m reading the Thousand and One Nights again, a new translation, so right now Arabic and Persian stories, poetry fill my head. Khayyam’s Rubaiyat was my earliest introduction to Persian culture and one I found magical from the beginning.

    There is, today, the slightest touch of spring longing in me. And so I wrote this.


  • Mountains

    Imbolc                                                                            Settling Moon II

    Phillip Levine died yesterday. Here’s a stanza from his poem: Our Valley. Seemed apt to me.

    “You probably think I’m nuts saying the mountains
    have no word for ocean, but if you live here
    you begin to believe they know everything.
    They maintain that huge silence we think of as divine,
    a silence that grows in autumn when snow falls
    slowly between the pines and the wind dies
    to less than a whisper and you can barely catch
    your breath because you’re thrilled and terrified.”


  • Poetic and Chaotic

    Lughnasa                                                                New (College) Moon

    Things to do in Colorado: write poetry. Read about the new U.S. Poet Laureate, Charles Wright. He sits in the same place, sees the same view and has done for over 30 years. While there, he notices his moods, captures them in his way.

    It’s been a long time since I’ve written poetry regularly, a very long time. Over 45 years. Then, all I’d written got stolen along with my 1950 Chevy panel truck, a favorite vehicle that truck. It had three on the column, a sticky clutch and burned oil. Somehow, though, it stole my heart, just like that blue Volvo station wagon and that red Toyota Celica.

    Somebody stole it, or else I parked it while drunk and never remembered I owned it. Coulda happened like that, too, I suppose. Life was like that back then in Muncie, Indiana. Poetic and chaotic and political. Another college memory, coming under the college moon.

    (could be it. now if that file of poetry is still under the seat.)

    So anyhow I think I’ll find a study in the mountains with a window where I can put a table and a pad of paper, a mechanical pencil. And I’ll sit there, noting what passes beyond the window and within my mind, jotting it down, see what the mountain air conjures.

    The other kind of writing, this blog, fiction, I can do at a typewriter (oops, there’s an anachronism. I meant, keyboard.) but poetry has been manual for me, maybe because I started writing poetry before I knew how to type. I learned typing in high school, my senior year.

    You know, I’d like to have that Chevy panel truck back. Wonder if whoever took it is done with it now?


  • They Say It’s Your Birthday

    Summer                                                                                     Most Heat Moon

    “so I wait for you like a lonely house
    till you will see me again and live in me.
    Till then my windows ache.” 
    ― Pablo Neruda100 Love Sonnets

    A good while back I sat down and wrote a list of my saints. These are writers, political activists, artists, naturalists, poets, film-makers, scientists, philosophers and others who have influenced my thinking, moved me toward various arenas of action. They are my mentors.

    A bit later I sat down and began entering their birthdays onto my Google calendar so I could acknowledge them at least once a year. That’s why my calendar for today, July 12th, has three names on it: Julius Caesar, Henry David Thoreau and Pablo Neruda. What an odd threesome, a Roman general and the first emperor, a New England Renaissance naturalist and writer, a socialist Chilean poet.

    Someday I plan a post that will feature most of my saints, a blog version of the Book of Saints, only these will be mine, an idiosyncratic list with very few outright religious folks on it.


  • Three Things

    Beltane                                                                         Emergence Moon

    To live in this world

    you must be able
    to do three things:
    to love what is mortal;
    to hold it

    against your bones knowing
    your own life depends on it;
    and, when the time comes to let it go,
    to let it go.                                  Mary Oliver, Blackwater Woods

    This life here. This land. These friends. The memories. All mortal. And I love them all. For forty years I have held this life, in its glad moments and its sad ones, against my bones, knowing I did depend on it. For twenty years I have held this land and the life here with Kate against my bones knowing I depended on both of them. For twenty-five plus years I have held the Woollies and Kate against my bones knowing my life depended on them. The dogs, too. Later, the docents, friends from the Sierra Club and elsewhere. All against my bones.

    Now, and here is the gray cloud lying close to my mental ground, the ravens and the crows flying there, the catafalque. The weight. The heaviness. The mudstuck boots. Now, the time has come to let them go. All but Kate and the dogs.

    No, of course there will be times. Times back here. Times together. Moments driving down the same streets, sitting in the same homes. But then as a visitor, a man from far away. No longer here. But there.

    Mary says when the time comes, let them go. Yes. I’m doing that. She didn’t say anything about being glad. And I’m not. I’m sad in the deepest reaches of my bones. But, it is time, and I will let them all go.

     


  • To Hell and Back

    Beltane                                                              Emergence

    Dancers. Kinesthetic wonders. The James Sewell ballet troupe are lithe, strong, fluid. Many of the things they did with their bodies revealed possibilities I had not kenned. Several a male dancer with take a female dancer on his back, then they would move, him bent over slightly, her resting on his back with no holds on either part, just weight and angle keeping her in place. Or, deadlifts of a prone woman on the floor to hip height. The Inferno was 70  minutes long and the number of calories expended by the troupe would keep me thin for a couple of months, maybe longer.

    Then there was the audacity of it. The level of creative challenge in taking a solid, 800 year old literary masterpiece and interpreting it in an essentially silent, physical medium is immense. This was a brave work. The score and the dancers took on us on a journey through the Inferno, going lower and lower, down the New York Subway into the infernal regions. The Sewell inferno is set, loosely, in New York City.

    This story of damnation and mid-life crisis is timeless and the Sewell Ballet has done it well. Worth seeing.

     


  • The Ancientrail of the Grandparent

    Spring                                                               Bee Hiving Moon

    Ancientrails hits the road again today, heading back to Denver for Gabe’s birthday party on Saturday.  Kate and I are driving out.

    Forgot to mention in the post below Charlie Haislet’s wonderful “32 Ways to See A Mammoth,” an homage to Wallace Stevens’ “13 ways to see a blackbird.” It was funny, quirky, profound, moving. A memorable work.

     


  • 2nd Thursday

    Imbolc                                                                 Hare Moon

    “An angel…his whisper went all through my body:

    ‘Don’t be ashamed to be human, be proud!'”   Romanesque Arches

    Discussed Tomas Transtormer and his poetry today with two docents, Jane McKenzie and Jean-Marie.  Shows how meager my grasp of contemporary poetry is.  I’d not heard of him, a Swedish Nobel Prize Winner, and a damn fine poet.  His work has a crystalline edge, images cut with words as facets.

    “The man on a walk suddenly meets the old

    giant oak like an elk turned to stone with

    its enormous antlers against the dark green castle wall

    of the fall ocean.”   Storm

    His poetry suggests a tour focused on image.  What is an image?  How do we know one? What is the same, what is different between the image of a poet and the image of a painter?  Of poet and sculptor?  Of poet and photographer?  What is there about an image that makes us yearn to create them, remember them, see them, hear them?

    The Matisse exhibition shows an artist focused on and struggling with this very question. How can I use paint, color, line to say woman, flower, wall?  Is it different if I ask the same question of bronze and clay?  Who might guide me?  Van Gogh?  Cezanne?  Seurat?  Monet?  Early in his career he answers yes to all these guides and works to see the world through their eyes, yet imprint it, too, with his own vision.

    Due to a collecting idiosyncrasy of the Cone sisters (patronnesses of both Matisse and the Baltimore museum) the show jumps from his experimental years and works in a mid-career but still formative stage to the bright lights of the last gallery, the wonderful prints from his book, Jazz, and other colorful pieces.  This is a joyful painter who thought long and hard about his work, wanting it to appear effortless.

    Matisse took line and color to reveal the essence of image.  And he makes it look easy and the human beings in his work are proud, just as the angel whispered they should be.