2.1 miles
to falls coffee
75 degrees / humidity: 91%
dew point: 70
Maybe because it was overcast, it didn’t feel as bad as the numbers would suggest. Still sweat a lot, but didn’t feel miserable. Ran with Scott to Falls Coffee. Ran on edmund, parallel to the YWCA tri racers biking on the river road. I remember doing this race — three times, in 2013, 2014, and 2015. I can’t remember why I didn’t sign up for it in 2016 — maybe because my favorite part, the swim, was too short and the bike was too long. In 2017, I was signed up, with RJP, to do a mother-daughter super sprint, but then I got injured. After that, I didn’t do it because my vision was too bad to go that fast and be that close to other bikers (and, because I never really liked the biking part). I love watching professional triathlons — Ironmans, T100s, WTCS Olympic distance races, and Super-tris, but I don’t like racing them.
Scott and I didn’t talk much as we ran; I think we were both too warm. Heard cicadas and birds and people calling out, good job! you got this!, way to go ladies!, to the racers. A steady stream of bikers on the road, some heading out, others returning.
We got coffee at Falls Coffee then walked back through the neighborhood, including through the playground at FWA and RJP’s elementary school. My favorite thing: little birds — sparrows? — lifting off from the pavement, like little bubbles bursting up in the air. Another thing: hearing cicadas buzzing and birds chirping at the same time — not a duet, I said to Scott, but two songs being sung at the same time that almost, but not quite, fit together.
Oh, this poem!
Difference/ Mark Doty
The jellyfish
float in the bay shallows
like schools of clouds,
a dozen identical — is it right
to call them creatures,
these elaborate sacks
of nothing? All they seem
is shape, and shifting,
and though a whole troop
of undulant cousins
go about their business
within a single wave’s span,
every one does something unlike:
this one a balloon
open on both ends
but swollen to its full expanse,
this one a breathing heart,
this a pulsing flower.
This one a rolled condom,
or a plastic purse swallowing itself,
that one a Tiffany shade,
this a troubled parasol.
This submarine opera’s
all subterfuge and disguise,
its plot a fabulous tangle
of hiding and recognition:
nothing but trope,
nothing but something
forming itself into figures
then refiguring,
sheer ectoplasm
recognizable only as the stuff
of metaphor. What can words do
but link what we know
to what we don’t,
and so form a shape?
Which shrinks or swells,
configures or collapses, blooms
even as it is described
into some unlikely
marine chiffon:
a gown for Isadora?
Nothing but style.
What binds
one shape to another
also sets them apart
— but what’s lovelier
than the shapeshifting
transparence of like and as:
clear, undulant words?
We look at alien grace,
unfettered
by any determined form,
and we say: balloon, flower,
heart, condom, opera,
lampshade, parasol, ballet.
Hear how the mouth,
so full
of longing for the world,
changes its shape?
We look at alien grace/unfettered/by any determined form