Quotes/Terms, 2022

Palimpsest (from jan 5)

Palimpsest as form? Started thinking about this possibility as I worked on my Haunts poem.

A palimpsest is “a parchment or other writing surface on which the original text has been effaced or partially erased, and then overwritten by another; a manuscript in which later writing has been superimposed on earlier (effaced) writing.” In other words, a palimpsest is a “multi-layered record.”Palimpsest

I first encountered the word, palimpsest, back in October, when I read an essay by Wendell Berry:

comings and goings of people, the erasure of time already in process even as the marks of passage are put down. There are the ritual marks of neighborhood — roads, paths between houses. There are the domestic paths from house to barns and outbuildings and gardens, farm roads threading the pasture gates. There are the wanderings of hunters and searchers after lost stock, and the speculative or meditative or inquisitive ‘walking around’ of farmers on wet days and Sundays. There is the sprawling geometry of the rounds of implements in fields, and the passing and returning scratches of plows across croplands. Often these have filled an interval, an opening, between the retreat of the forest from the virgin ground and the forest’s return to ground that has been worn out and give up. In the woods here one often finds cairns of stones picked up out of furrows, gullies left by bad framing, forgotten roads, stone chimneys of houses long rotted away or burned.A Native Hill / Wendell Berry

We are made of fields, not cells (jan 11)

Left Open / Victoria Chang

We can’t see beyond
the crest of the wooden gate.
We are carriers
of grass yet to be grown. We
aren’t made of cells, but of fields. 

I like this idea of being a carrier of grass yet to be grown. My first thought was of grass on graves — Whitman’s “uncut hair of graves” or Dickinson’s “The color of the grave is green”. Then I thought of Gwendolyn Brooks’ “To the Young Who Want to Die”:

Graves grow no green that you can use.
Remember, green’s your color. You are Spring.

Reading this now, as I do this summary on Dec 7th, I’m struck by this idea of us as being made of fields, as future fields. I’m thinking of us as what happens after we die, how those cells, that matter, returns to the earth and becomes part of the dirt. How might that shift our understanding of what we are and what we do if we think with this longer view? Wow.

Fauve, Color, Artists, and My Vision (jan 17)

Fauve/ Arthur Sze in Dazzled

Caw Caw, Caw Caw Caw.
To comprehend a crow
you must have a crow’s mind. 
To be the night rain, 
silver, on black leaves, 
you must live in the
shine and wet. Some people
drift in their lives:
green-gold plankton, 
phosphorescent, in the sea.
Others slash: a knife
at a yellow window shade
tears open the light.
But to live digging deep
is to feel the blood
in your rage as rivers,
is to feel love and hatred
as fibers of a rope, 
is to catch the scent
of a wolf, and turn wild. 

The word, fauve, sounded familiar, but I had to look it up. It means vivid colors, and refers to the movement of painters, including Matisse, and “their unconventional use of intensely vivid color, and free treatment of form” (Merriam-Webster). 

fauves = wild beasts
vivid colors express intense emotions

I’m thinking about Fauvism (the little bit I understand of it), and its intense, vivid, sharp, striking colors. One blog post I read, contrasted Monet’s dreamy, subdued Houses of Parliament with Derain’s Charring Cross Bridge and his “lurid greens” and yellows. It is difficult for me to see intense colors. I was noticing earlier today that sometimes it helps to look off to the side. In general, I see the world, more like Monet’s dream. 

note from 7 december, 2022: see these two poems, for more on artists, vision, and color —

1. Ekphrasis as Eye Test/ Jane Zwart + slide show with paintings
2. Ekphrasis as Eye-Test/ Amit Majmudar

Layers: &under (from 26 and 27)

from Inspiration Point/ Jennifer Jean

to be a kid. Alone. & under that aloofness—hid
vengeance. A rusty burr or two 
in my left sneaker. & under that—anxiety. The salt 
dripping through chaparral 
brows, into my brown lashes. &
under that—rage. A perfectly purple 
shell some kid favored & lost.
& under that—hope. The pounded 
ground. & under that—a vast
clearing on the cosmos, also called Inspiration
Point. A gorgeous, inner hilltop

 I can’t remember why, but I started thinking about layers and the poem I posted yesterday, with the repeated line, & under. What are my layers, and are layers so distinct and easily discarded? Now I’m thinking about sediment and certain types of rock formations, where rock from different times in history get all mixed up when they settle, so you can’t easily distinguish eras (or is it periods, or what?). What’s that called again? I’ll have to look it up. 

WYSIWYG (feb 4)

I also was reminded that this phrase turns into a computer acronym: WYSIWIG. I mostly use the WYSIWIG editor on wordpress. I forgot it was called that because now they refer to it as the visual editor (as opposed to the code editor). I kept thinking about how this idea that what you see on the screen is what appears on the printed page is an illusion, concealing all the code that is required to make it appear as you want it. About a decade ago, I started learning some of that code (html, css). I don’t know much, just enough to understand that everything about how words or images look online involves a ton of behind-the-scenes brackets and semi-colons and classes and ids (and more). I find a lot of value in understanding, or at least being familiar with, how this works. And, I find a lot of danger in believing that all of what appears on a screen just is the way it is, almost by magic. I’m not suggesting that everyone should learn to code — wasn’t that a trendy slogan a few years ago? — but that they should be aware of how it works, and that it exists. 

This ignoring of the process, and the naive belief that “things just happen,” reminds me of how many (most?) people believe vision works: you see what’s there with your eyes. They don’t think about the complex processes of vision, from cornea to retina to visual cortex, and how the brain, to make things easier and/or efficient, or because it has limited data, distorts or alters or guesses. When we see, we are not seeing the world as it is, but how our brains have figured it out.

Human perception is patently imperfect, so even a normal brain must fabricate a fair amount of data to provide a complete sense of our surroundings. We humans are lucky that we have these fancy brains to chew up the fibrous chunks of reality and regurgitate it into a nice, mushy paste which our conscious minds can digest. But whenever one of us notices something that doesn’t exist, or fails to notice something that does exist, our personal version of the world is nudged a little bit further from reality. It makes one wonder how much of reality we all have in common, and how much is all in our minds.

Chuck Bonnet and the Hallucinations/ Alan Bellows

Progress/Progressive (feb 7)

 I talked about the “as is” as the old, out-dated, bargain basement, and progressive lenses versus bifocals and how the type of cone dystrophy I have is progressive cone dystrophy because my vision has not stabilized and is continuing to grow worse — it’s progressively deteriorating, as opposed to stationary cone dystrophy where your vision stays at the same level; it’s already lost what it’s going to lose. The progress I’m experiencing is progress as getting worse not better, which is a type of progress that rarely gets mentioned in all the appeals to it. This reminds me of Jenny Odell’s How to Do Nothing and a line she has about capitalism wanting uncontrolled/unlimited growth and how that’s what cancer is. I found it on goodreads:

But beyond self-care and the ability to (really) listen, the practice of doing nothing has something broader to offer us: an antidote to the rhetoric of growth. In the context of health and ecology, things that grow unchecked are often considered parasitic or cancerous. Yet we inhabit a culture that privileges novelty and growth over the cyclical and the regenerative. Our very idea of productivity is premised on the idea of producing something new, whereas we do not tend to see maintenance and are as productive in the same way.

How to Do Nothing/ Jenny Odell

I also found a similar, and much earlier quotation by the park ranger/ troublemaker/ writer/ environmental activist Edward Abbey:

growth for the sake of growth is the ideology of the cancer cell.

Edward Abbey

Island of Misfit Toys (feb 8)

The misfit, mistake toys — a pistol that shoots jelly instead of water, a bird that swims instead of flies, a cowboy that rides an ostrich instead of a horse — all want to be accepted and loved by some “girl or a boy.” They lament their banishment to the island. At the end, they are “saved” by Rudolph and Santa and become presents. I didn’t watch the entire show; are they “fixed” or delivered “as is” to the kids? Will the kids (or their parents) be happy with broken/misfit/flawed toys? I mentioned this to Scott and he said, “I would LOVE a cowboy riding on an ostrich!” Much of my love for the State Fair Mannequins is because they continue to exist outside of the acceptable in an old, out-dated creative arts building. I don’t want them to fit in, or to have what “fits” be expanded to include them. I like that there is a space that seems to exist outside of progress and the newest, slickest model. But, there’s a tension for me, too: I appreciate (and identify with) these mannequins as strange, queer misfit resistors, but I also feel haunted by the pressure (and sometimes the desire) to fit in, where fit in = connect, be recognized as acceptable and human, not have to always work against the “normal.” I want to think about how I can express that unresolved/unresolvable tension. 

Before I went out running, I watched the misfit toys clip and wrote some of the previous paragraph. As I ran, I thought about them and the mannequins and some words came to me. I held onto them until I could record them into a voice memo while I walked up the lake street bridge steps: “not improved, accommodated, fixed, cured. Just left alone.” I’d add now: left alone to be, away from the new, the novel, the latest model.

Poems of Praise (feb 10)

This morning, I was thinking more about form. I thought about how I imagine my poem as one of praise for the mannequins, and the improbability that they continue to exist. Then I thought about hymns and how Emily Dickinson wrote in common meter/hymn form. Quatrains: 8/6/8/6, mostly iambic tetrameter/iambic trimeter ABAB rhyme scheme (with lots of slant rhymes) (Common Questions on Emily Dickinson). This sounds exciting and promising, but do I have words to fit this form? Unsure. I also thought about one structure Mary Oliver uses in her poems of praise: First, a detailed description of the delightful thing; then a display of wonder/astonishment, possibly the posing of a question; and, finally, a revelation. I want to try these different approaches with some sort of praise poems, but I’m not sure they work for the mannequins.

One approach to the poem could be to provide more detail and development of the “as-is” mannequins’ location in the creative activities building at the Minnesota State Fair: encased in glass, jammed with sweaters and ponchos, dresses, hats, mittens, aprons. Close to the quilts, the rugs, the weavings. Across from the jars of jellies and jams and pickled beans, pickled peppers, pickled cucumbers. Cookies, breads, cakes, honey. And, for a few years, melted crayon art. The domestic arts. The enemy of convenience, the ready-made, the instant, the quick. Homemade, not store-bought, requiring slow, patient effort, “traditional” techniques. The point of this effort is not to sell (or buy) more of anything, but to pass on these practices, different forms of knowledge (and to win a ribbon). Things in this building are not typically recognized as artistic or possessing Beauty (as a form), but as functional, useful, necessary for survival. Women’s work. How much of this to put in this poem? And, how do I connect that with another important aspect of the mannequins: my kinship with them as strange not quite human aliens who almost look real — almost — but lack that extra something, like the spark in the eye, the direct eye contact. Not sure how (or if) I’ll do this yet. 

Here are 2 praise poem that offer some good inspiration as I continue to push through how to write my poem:

Praise the Rain/ JOY HARJO

Praise the rain; the seagull dive
The curl of plant, the raven talk—
Praise the hurt, the house slack
The stand of trees, the dignity—
Praise the dark, the moon cradle
The sky fall, the bear sleep—
Praise the mist, the warrior name
The earth eclipse, the fired leap—
Praise the backwards, upward sky
The baby cry, the spirit food—
Praise canoe, the fish rush
The hole for frog, the upside-down—
Praise the day, the cloud cup
The mind flat, forget it all—

Praise crazy. Praise sad.
Praise the path on which we’re led.
Praise the roads on earth and water.
Praise the eater and the eaten.
Praise beginnings; praise the end.
Praise the song and praise the singer.

Praise the rain; it brings more rain.
Praise the rain; it brings more rain.

I especially like the repetition and the detail of this poem. 

This next one, offers a much pithier approach:

All Praises / Lucille Clifton

Praise impossible things
Praise to hot ice
Praise flying fish
Whole numbers
Praise impossible things. 
Praise all creation
Praise the presence among us
of the unfenced is.

Alt-text (feb 15)

Here are some sources for alt-text that I want to use/refer back to:

• Alt Text as Poetry
• twitter thread about alt text, its origins, some ways to use it
• Bojana Coklyat in Conversation with Shannon Finnegan

a type of poem that’s new to me (feb 19)

epithalamion: a poem written specifically for the bride on the way to her marital chamber.

Is it better in A or B? (feb 20)

from IRL/ Tommy Pico

Tell me
as I switch between lenses—
which is clearer: A… or B. One
more time? Okay, A… or B.
I can’t ever see

I want to do something with their mention of switching between lenses and whether it is better in A or B. Very cool. Yes, the idea of being better with A or B (or 1 or 2), makes me think about this in-between state I’m in with my vision right now, both how well I can and cannot see, but also which world is better or preferable or more true, whatever that means — the world I was in where I could see mostly normally, or the world I’m slowly entering now where my central vision is almost gone or totally gone. I always struggle with either/or choices and the binaries they create. I want to do some more research on this vision test — what it’s called, who developed it and for what reason, why it’s used and if there are alternatives test to measure the same thing.

Interview with Ada Limón (feb 21)

 I found an interview with the great poet, Ada Limón. Here are a few things she said that I’d like to remember:

ongoingness: the world is going to go on. And the world is going to go on without me, and without you. And the trees are going to keep living, and when they die, there will be more trees that are going to come. And that ongoingness of the world was really, in some ways, a relief.

How does her definition of ongoingness fit/not fit with Sarah Manguso’s in her book Ongoingness? I need to find my old notes to answer this….Found Manguso’s book instead. Here’s something she writes early in the book:

I wanted to comprehend my own position in time so I could use my evolving self as completely and as usefully as possible. I didn’t want to go lurching around, half-awake, unaware of the work I owed the world, work I didn’t want to live without doing.Ongoingness/ Sarah Manguso

This quotation, especially her use of work here, reminds me of Mary Oliver and my study of her understanding of work on this log last April. Maybe time to explore that again?

When I say the word “surrender,” I mean giving into that timelessness. Time is real, yes, and it’s also a cycle. Surrender means not clinging to my own identity, to my own attachments, but finding some way to release my grip on the world. And of course when you release your grip you notice what you’re attached to, you notice the things you miss, and the things you love.

We have to live in a world where we have to protect ourselves all the time. Now even more so. We wear layers. We add a mask to it, we add isolation to it. There are so many ways we protect ourselves, even from ourselves. And I think it’s important to recognize that the self underneath the self needs witnessing.

One of the things the walk did for me was to decenter the self. At a certain point the mind opens and you start to watch, you get to witness, you get to listen, you get to receive the world instead of putting yourself into the world. I think I am someone who is inherently selfish, and I can turn anything into something about me. I think most people can. The more I walk, the more I can dissolve. The process of dissolving and being receptive to the world is where the poetry comes from. Sometimes it takes a lot of miles for that to happen.

Remembering Ideas on the Run (feb 25)

“Running, Thinking, and Writing” 

Do you have trouble remembering your creative ideas after you have finished your workout? If so, any strategies?

Aschwanden: “I don’t use a special trick to remember. If the ideas are any good, I’ll remember them. At times I’ll repeat the thing to myself a few times as I run to make sure I’ve instilled it.”

Epstein: “I have a ton of trouble remembering the ideas I come up with while running. Sometimes I’ll tell myself, ‘I must remember this,’ and then five minutes later it’s totally gone. So I’ve taken to doing my own modified version of a memory palace where I make a little story that contains the cues that will remind me. Occasionally I’ve made notes in my phone’s memo app.”

Magness: “Yes, I forget them. This is the biggest problem I have with running as a path to insight. I don’t carry a phone or pen with me, and I don’t have a perfect solution. I often forget my big ‘breakthrough’ and spend hours trying to remember the insight. I try to retain thoughts by repeating them over and over in my head, and tying them to a landmark on the run. For example, if I get an idea while crossing a bridge at mile 4, I’ll incorporate that fact into what I’m trying to remember.”

McDougall: “I don’t want to screw things up by stopping to write notes. I just let it flow and try to visualize the big ideas as movie scenes in my mind. It’s not the words or phrases that matter. You just need to retain the Big Picture, and that’s easier to retain as an image rather than some syntactical word sequence.”

Miller: “Sometimes, I’ll forget. I try to remember by repeating the thought over and over in my head. Or I’ll type a note into my phone.”

Pappas: “I will stop and type in my phone if I have an idea that needs to be actually remembered.” 

Switzer: “They are absolutely very difficult to remember. I choose three of the most important ideas, and repeat them like a mantra. I’ll forget others, but can generally hold onto three. I do have to write them down as soon as I get home. If I shower or even stretch first, they’re gone.”

Thompson: “Yes! I do forget. But if I remember something genuinely useful, I will jot it down in Evernote at my desk after the run.”

An Example of What I Can’t See (feb 28)

Scott and I watched the first episode of After Party last night. Very good. Anyway, this episode focused on Aniq. For much of the episode he looked ridiculous: someone/s had drawn cat whiskers and ears on his face, along with the word “nerd” in big letters. It’s very obvious and a crucial element in understanding who he is as a character. Because of my vision problems — my lack of cone cells, limited central vision — I did not see any of this on his face until someone, the detective, finally referenced it. Up to that point, about 40 minutes, it was all invisible to me. I could see his face (well, roughly, I guess) and mostly follow what was going on, but I had no idea anyone had drawn on him. He looked “normal” to me. I wanted to remember this as an example of how my vision works, or doesn’t work, how much I miss that I’m not aware of. It doesn’t seem like that big of a deal, but you miss out on a lot of what’s happening and how it’s being communicated when you can’t see certain things and don’t even realize you’re not seeing them (and no one else realizes you’re not seeing them either; they just think you’re not paying attention or being stupid, or that you don’t care). 

Questions Tool (march 2)

Some poetry people posted about a new tool that removes everything but the questions from a text. Here’s an article by the creator of the tool. Very cool. Hooray for questions!

I am a draft of a person (march 4)

This poem is an exercise in re-encountering the familiar. Lately, I’ve been trying to take another look—at poem drafts, at circumstances, at assumption, chores, beliefs. More and more, I have come to understand myself as a draft of a person to which I return and try to see again, anew. Even in the line and intentions struck through, negation is a presence, too. This poem is about externalizing something internal so it can be witnessed. It’s also about allowing the grace and strength of others, along with the mysterious gift of breath, to change me daily.

Drift/ Alicia Mountain

Longfellow and Weather (march 5)

Though some of his entries were brief or contained on a quick record of the day’s temperature, it was Longfellow’s more lyrical descriptions that set his reports apart from those of the typical diarist, offering a glimpse into the mind and process of a poet at work, consciously or not. Instead of a windless or light rain, for example, he writes on December 1, 1865: “A gentle rain and mist covering the whole landscape. The river changed to a lake. Not a breath of wind. The brown leafless branches all at rest. A day of quiet and seclusion.” The “gentle” rain imbues a sense of calm over the river (now a “lake”), the wind, and the “brown leafless branches,” which are not dead but “at rest,” suggesting a restorative benefit to the fallowness of the landscape. This restorative quell extends to Longfellow as well, who breaks from the demands of work and celebrity for “quiet and seclusion.”

‘Day to be recorded with sunbeams! Day of light and love!’: Longfellow and the Weather

who loves you, you (march 9)

Second Estrangement/ Aracelis Girmay

Please raise your hand,
whomever else of you
has been a child,
lost, in a market
or a mall, without
knowing it at first, following
a stranger, accidentally
thinking he is yours,
your family or parent, even
grabbing for his hands,
even calling the word
you said then for “Father,”
only to see the face
look strangely down, utterly
freight, utterly not the one
who loves you, you
who are a bird suddenly
stunned by the glass partitions
of rooms.
How far
the world you knew, & tall,
& filled, finally, with strangers.

One of my favorite poetry people pointed out the line, “who loves you, you” and I’m so grateful. Maybe I would have noticed this hidden message/one line poem on my own, but not as soon. I love imagining this as the center/heart of this poem, as the poem within a poem. It makes me want to try to do this too, to put in a line that offers something extra. 

I don’t remember accidentally taking a stranger’s hand in a crowded store when I was a kid, but I do still remember the absolute terror of realizing I was lost, and alone, in a store. I remember pacing around, trying to calm myself down as I looked for my mom. Such an awful feeling: flushed face, tingling scalp, queasy stomach.

Life Death Bliss Breath (march 10)

I like the repetition of these chants and how, if you repeat them enough, they lose their meaning, or change meaning, or change the space you’re running through, or change you.

Nate Marshall on Meter (march 13)

 I was reviewing a thread I had saved about meter and how you learn it. In addition to advice (memorize and speak it, move with it, think of it as swing notes in jazz, spend a lot of time breaking it down, focus on poems with very strong meter), many people discussed their struggle with hearing meter because of dialects and english not being their first language. One person mentioned a great essay by Nate Marshall about this, and I found it: A Code Switch Memoir. Nate Marshall describes how, as a young elementary school student, he would struggle with the set of questions on his vocabulary test that asked for the stressed syllable: 

This absolutely stumped me. My grandmother, the librarian, was from Montgomery, Alabama and I often heard her pronounce words in ways unlike many of my white friends at school. Her friend, the Arab dude who ran Fame Food & Liquor a few streets from our house, had his own wild pronunciation. Even my mother, her daughter, would shift her vocal patterning on words and phrases depending on if she was talking to us kids after a long day at work or calling the police to report men drinking and shooting dice in the park across the street. The idea that words had specific patterns to be followed did not make sense to me, though I did not know how to articulate why.

A Code Switch Memoir

I struggle with meter. Before reading this essay or the tweets on the meter thread, I hadn’t thought about my own experience with accents and dialects. I was born in the remote Upper Peninsula of Michigan, with its thick Yooper accent until I was almost 5. Then I moved to Hickory, North Carolina, a small southern town with thick southern accents until I was 9. Then southern Virginia (more of the south), and norther Virginia (more East Coast), and Des Moines, Iowa for high school (midwest twang). I went to college in southern Minnesota (lots of Canadian long os), and grad school in the LA area and Atlanta, Georgia. My dad grew up in the UP, my mom in St. Paul. Both of them spent a lot of their early adult life in Illinois (Rock Island, then Chicago). All of these locations and their distinctive dialects have crept into how I speak and how I hear words. Could this be one of the reasons meter is difficult for me? Maybe.

I’ve grown to have a great fondness for formal poetry. I still don’t understand metrical prosody very well but I understand its importance in the tradition. I was asked the question recently whether or not meter was still a useful tool in poetry. I think meter, like anything else, is at play when building the small geniuses of a poem. I think form and verse are important ways to give artistic challenges that can lead to great results. With that said, I believe that every poet and generation of poets has to define and redefine their relationship to form and the role it will play. Whether it’s the fourteen-line sonnet, the sixteen-line rap verse, the six-line stanza of a sestina, or the tercet of a blues poem each poet has to figure how to find and employ the weapons that offer each poem its truest voice.

A Code Switch Memoir

Cole Swenson and walking vs. running (march 15)

I had never heard of Cole Swenson before this article. In the bibliography at the end of the essay, I discovered that she’s written a chapbook about walking and poetry! Very exciting. Here’s something she says in the introduction about walking and place:

Then sitting still, we occupy a lace; when moving through it, we displace place, putting it into motion and creating a symbiotic kinetic event in which place moves through us as well. 

I’m excited to read the rest of this chapbook. As I was reflecting on the value of walking, my mind wandered, and I started to think about why I prefer running to walking in my practicing of attention. Walking opens me up, enabling me to notice new connections, access new doors, but because it involves wandering, and is fairly slow, it doesn’t offer any limits to that wondering. I get too many ideas, wander too much. With running, the effort it requires forces me to rein in some of my wanderings. I can’t think in long, meandering sentences; I need pithy statements, condensed into a few words I can remember. These limits help keep me from becoming overwhelmed with ideas. Does this make sense? I’ll think about it more when I have a chance to read Swenson’s chapbook and some of her other work.

to become the sort of person (march 17)

Yesterday, I was talking with Scott about reading Oswald and getting inspired for my own project of documenting the Mississippi River Gorge. I said: I’m not sure what this will turn into, but I’m just happy to have become the sort of person who finds delight in Oswald’s words and in reading poetry about the river that combines myth and history and thinking critically and reverently about land and water and how and where humans and industry fit in. How wonderful it is to discover these new forms of care and curiosity!

“staring at routine things” (march 20)

Before my run, I read a short section from Dart. This one was in the voice of the dairy worker (page 29):

to the milk factory, staring at routine thingsDart / Alice Oswald

In the poem, these routine things include 

bottles on belts going round bends.
Watching out for breakages, working nights. Building up
prestige. Me with my hands under the tap, with my brain
coated in a thin film of milk. In the fridge, in the warehouse,
wearing ear-protectors.Dart / Alice Oswald

I decided to start my run with this prompt: focus on/stare at the routine things on my run. Here are some of my thoughts:

• the route: Marshall Loop. Not as routine as other routes, but one I do often. North on 43rd ave; right on 31st st; left on 46th ave; right on lake street, then over the bridge until it turns into marshall; up the marshall hill; right on Cretin ave; right on east river road; down past shadow falls; up the lake street bridge steps and over the bridge; down the hill then over to west river road heading south
• ran past the lutheran church on 32nd and 43rd. Heard the congregation singing inside for the sunday church service
• encountered another pedestrian, stayed on the right side as we passed
• wore my usual outfit for an early spring run: black running tights, black shorts, green long-sleeved shirt, orange sweatshirt, hat, headband, gloves
• like it always does after a rain, or when the snow melts, shadow falls was gushing
• reaching the top of the marshall hill, I watched the crosswalk timer countdown and the light turn from green to yellow to red

from EXPERIENCE, A LOVE STORY/ Katie Peterson (march 22)

I am always on the side of the country. I don’t have had anything to say about the people in the country. I don’t know any. I think the point of the country is that people are secondary to it.

the writer in the writing (march 22)

I wonder, is there room in Oswald’s democratic stories for her own efforts at smashing nostalgia and noticing from different perspectives? How would that alter the poem to include the voice of the observer-participant or participant-observer? How might it look if the author’s voice wasn’t absent, but made only one among many, all having value?

log entry / 21 march 2022

Just before heading out the door, I read this quotation from Oswald in an interview about her collection, Woods, etc.:

I almost feel that I am not part of it. I believe the poet shouldn’t be in the poem at all except as a lens or as ears.

I thought about these passages as I ran, and the tension I feel between 1. wanting to use words to connect and better understand and describe my experiences, and 2. wanting to dissolve my self into the world and the words. Mostly, I want to dissolve, to have what I’m doing be about the words and the stories, passing them onto others. But, there’s a part of me that wants to push myself to be less hidden, less private, less guarded. Removing myself from the words (and the world) sometimes seems like an easy way not to engage in the messiness, to try and float free above it, which is not really possible or desirable. Of course, thinking about this when I’m running means that no thoughts are that long or clear or remembered. They flash and dissolve.

something to notice while running: movement (march 26)

Thinking about this line I reread this morning before my run:

your eyes are made mostly of movement

Dart / Alice Oswald (45)

I deduced to make this my task for noticing the world on my run today: What is moving on my run (besides me)?

a word to remember in the summer (march 27)

petrichor (pe TRI cor): a pleasant smell that frequently accompanies the first rain after a long period of warm, dry weather. Found on a twitter thread about favorite words rarely heard.

startle / surprise / astonish (april 1)

To live is so startling, it leaves but little room for other occupations

@chenchenwrites

Reading Chen Chen’s thread, I found this great idea: “deep delight as a compass, a map.” I really like this, and I’m thinking about how I might switch out the word delight for wonder. Now I need to revisit the terms “delight,” “wonder,” “astonishment,” “joy,” and “surprise.” That might be a great challenge for the month too: thinking/reading/working through these different terms?

Getting back to ED’s letter, I found a description of the change is season from summer to winter in it that I’d like to remember:

When I saw you last, it was Mighty Summer‹Now the Grass is Glass and the Meadow Stucco, and “Still Waters” in the Pool where the Frog drinks.

letter

Grass is Glass and the Meadow Stucco? Love it!

I just looked up “startle” in Ed’s lexicon. Here are the two definitions offered:

1. Shake or twitch due to terror or unexpected surprise.
2. Be filled with fright; become shocked.

It also directed me to see “start.” Here are those definitions:

start (-ed), v. [OE ‘to overthrow, overturn, empty, to pour out, to rush, to gush out’.] (webplay: quick, quickened).

1. Spring to attention.
2. Become active; to come into motion.
3. Begin; to come into being.
4. Incite; startle; suddenly bother; abruptly rouse with alarm; movement of body involuntarily due to surprise, fright, etc.
5. Begin a trip or journey to a certain destination.

And, here’s a poem from ED with startled grass:

PRESENTIMENT is that long shadow on the lawn
Indicative that suns go down;
The notice to the startled grass
That darkness is about to pass.

After bookmarking it at least a week ago, I finally read Diane Seuss’s fabulous Commencement Address to the Bennington Writing Seminars posted on LitHub. I didn’t anticipate how it might fit with my before and during run thoughts, but it does, particularly the bit about grass and graves and the dead speaking to us, and us giving our attention. 

A thought: Could we be the startled grass, surprised, shocked, fearful, but astonished, in wonder, alive and willing to reach down to the dead to give attention and life to their stories and to tell our own?

Some ideas to pursue (april 3)

1. Read, explore ED’s correspondence with Higginson
2. Define delight, wonder, astonishment, joy, surprise. Find poems that offer definitions
3. Grass (dirt is also mentioned in the speech)

An Experiment that Worked (april 3)

At the end of my post from 2 days ago I decided on my project and, of course, I am already abandoning it, or maybe just wandering with it a little? This wandering is one joy of my undisciplined approach to writing/engaging/being in the world. The project/challenge: do a different B Mayer “Please Add to this List” experiment each day. Yesterday, I picked my first one: “Compose a list of familiar phrases, or phrases that have stayed in your mind for a long time–from songs, from poems, from conversation.”

I began a list:

• You’ll get no commercials
• There’s a new girl in town
• As long as it’s gum and that’s for me
• Life is life, and death but death, Bliss but bliss, and breath but breath
• I am the wind and the wind is invisible
• Think of a sheep knitting a sweater, think of your life getting better and better
• Like sands through the hourglass, these are the days of our lives
• Wake up in the morning, feeling sad and lonely. Gee, I got to go to school
• What a world, what a world!
• Heaven, I’m in heaven, and my heart beats so that I can hardly speak
• Raindrops on roses and whiskers on kittens
• What do you do when your kid is a brat?
• Pious glory
• The buzz saw snarled and rattled in the yard
• I’m a wheel watcher
• Remember I love you, I won’t be far away. I’ll just close my eyes and think of yesterday
• I’ll be yours in springtime when the flowers are in bloom. We’ll wander through the meadows in all their sweet perfume
• Of course you do
• Eastbound and down, loaded up and trucking’
• Hey y’all
• trouble is inevitable, and the task, how best to make it, what best way to be in it
• You were not there
• All will be revealed
• And you never will be
• Tell all the truth but tell it slant
• Try to remember the days of september
• the boobie hatch
• the worms crawl in, the worms crawl out, the worms play pinnacle on your snout
• Miss Suzy had a steamboat, the steamboat had a bell. Miss Suzy went to heaven, the steamboat went to…

Then I stopped. I started thinking about “the worms crawl in, the worms crawl out” and remembered my sister Marji singing that to me when we were kids, then us gleefully singing it together. Something clicked. I thought about worms and dirt and death and graves and really gross things about bodies and being delighted in singing about those gross things and Diane Seuss’s commencement address and her invoking of these lines by Walt Whitman:

I bequeath myself to the dirt to grow from the grass I love,
If you want me again look for me under your boot-soles.

I decided what I really want to do this month is study dirt. It’s fitting for April as I begin to notice dirt again as it emerges from under the snow. It also follows nicely from Oswald and her emphasis on physical labor — working in the dirt and gardening, getting your hands dirty — and minerals all the way down. And, it returns me to my extended exploration of both ghosts and haunting and earth/rock/stone/erosion. So many different ways to wander and wonder with this word!

MAKE! DO! (april 5)

Unveiling/ Gail Mazur

I say to the named granite stone, to the brown grass,
to the dead chrysanthemums, Mother, I still have a
body, what else could receive my mind’s transmissions,
its dots and dashes of pain? I expect and get no answer,
no loamy scent of her coral geraniums. She who is now
immaterial, for better or worse, no longer needs to speak
for me to hear, as in a continuous loop, classic messages
of wisdom, love and fury. MAKE! DO! a note on our fridge
commanded. Here I am making, unmaking, doing, undoing.

MAKE! DO! I love the different ways to read this, as: making do, managing, getting by, finding a way with limited resources and make something! do something! create act.

more on layers, entanglement, and Arthur Sze

from “Entanglements”

your field
of vision tears, and an underlying landscape
reveals a radiating moment in time.

I reflected on the underlying landscape as layers that can’t be seen with your eyes, only smelled or felt or imagined. And I delighted in the idea of so much happening, so much present beneath me that I couldn’t see, that I didn’t need to see, for it to exist or to affect me or to be connected to me.

wonder, care, strangeness (april 10)

1. Remembering the poem about the parasitic mushrooms and the carpenter ants that a poet found in a kids’ science magazine. Why and how do we lose the wonder we had as kids? 
2. Then I was thinking about care, and why and how we care about things. What do we need to care? Do we care about things we can understand? That we know? That have use value for us? What about things that make us wonder and delight in their strangeness? Why can’t that be a reason to care? 
3. Finally, I was thinking about Alice Oswald and something she said in an interview about otherness and how our encounters with the land and nature are ones of encountering that which is alien and other to us. So, we don’t recognize nature in how it’s like us, or we’re like it, but in how it is strange to us.

definitions of poetry (april 14)

In her introduction to Madness, Rack, and Honey, Ruefle suggests that poetry maintains its mystery by always being a few steps beyond us. She likens attempting to describe poetry to following a shy thrush into the woods as it recedes ever further, saying: “Fret not after knowledge, I have none.” Ruefle proposes that a reader might “preserve a bit of space where his lack of knowledge can survive.”

Human Lessons: On Mary Ruefle’s My Private Property

that’s what poetry is. It doesn’t just point out the world. It makes it strange to us again. So that we can remember wonder. 

What is Enough for a Poem? An Interview with Ada Limón

doors and hinges (april 17)

I want to return to the creaky branches sounding like the rusty hinge of a door. Last April, I read a poem by Mary Oliver with a hinge in it:

from Dogfish/ Mary Oliver

I wanted
my life to close, and open
like a hinge, like a wing, like the part of the song
where it falls
down over the rocks: an explosion, a discovery

I’m thinking of door hinges and poems as opening a thousand doors and the wings of the seven white butterflies and “how they bang the pages/or their wings as they fly/to the fields of mustard and yellow/and orange and plain/gold all eternity” (Seven White Butterflies/ from West Wind)

roots (april 19)

Halfway through the run, in Wabun park, I stopped to record my thoughts. Here’s a summary: 

1. Thought about being rooted in a place, then being on the inside or the outside and how being rooted means being both in and out, or neither, at the same time. Just there, part of what’s happening. 
2. Then, I wondered, Does rooted always mean we’re tethered or stuck in one place, immobile? What would it mean to be rooted in a place while you were moving? 
3. Then: how are the roots formed? Instead of one solid, thick, sturdy root that’s difficult to cut down, what if we were a network of roots spread throughout the ground, connected and tangled with other? Roots can be networks — shallow and easy to pull out, like weeds, but multiplying and growing when you do that (rhizomes and nodes). 
4. Getting at the root, radical feminism and the root of oppression, the origin/cause of the problem I often think about the origins of my running story — there is no one root or cause or start, but a series (a network) of reasons.
5. Chanted: root root root root/root root root root/ roo ting roo ting/root root root root/root root root root/roo ted root less I like these simple repetitions. I’d like to try chanting these for several minutes, then seeing what other words/ideas/chants might appear.

Nets (april 21)

Thought about nets and this passage from The Mushroom at the End of the World:

Mushrooms are the fruiting bodies of fungi. Fungi are diverse and often flexible, and they live in many places, ranging from ocean currents to toenails. But many fungi live in the soil, where their thread-like filaments, called hyphae, spread into fans and tangle into cords through the dirt. If you could make the soil liquid and transparent and walk into the ground, you would find yourself surrounded by nets of fungal hyphae (137).

Thought about imagining the soil was liquid and transparent and then entering it, surrounded by nets of fungal hyphae. What if I could swim in the soil? Swim through these nets of fungal hyphae? 

Wondered about networks and the comparisons Tsing describes between fungi networks and the internet (the wood wide web) and the infrastructure of highway systems. What are some key differences between how the internet and highways work?

Thought about nets and what they do, what they’re for, as I ran. Nets can trap and confine things, like fish, but they can also hold things — carry, hold together, be a container for, not sealed or airtight but open with many holes, ways to breathe. I thought about these nets as loosely holding organisms/selves together without sealing them into a self-contained, separate Subject. 

There’s a lot to ruminate over with entanglement and fungi and mutuality as a starting point instead of competition. I need to sit with all some more, and maybe do some writing around/with a few lines from the book. I’m hoping to turn my thoughts into a poem for an call for work on entanglement. 

In my notes in Plague Notebook, Vol 11 I made a list of words related to nets:

• weave
• cover
• crossing, cross over
• holds things, gathers things
• tangled
• knotted
• a web, a weaving
• safety net

See April 25 for some poem fragments on mushrooms and entanglement.

what if we didn’t always die? (april 29)

’m thinking about lichen and Forrest Gander and telling everyone in the house about how lichen can be killed, but if it has what it needs, it might never die (which I heard him say on a podcast I listened to this morning while doing the dishes). I wouldn’t want to live forever, but I like imagining a world in which inevitable death didn’t overshadow almost everything else. I’m not consumed by it, but it’s in all of our stories, our understandings, our philosophies, how we frame and experience joy and delight. How would we orient ourselves without that endpoint, without that guaranteed conclusion?

not destroying, but opening (may 2)

These days, it seems like the highest praise a poem can get is someone tweeting in all caps, “This destroyed me!” I have often wondered why someone would want to be destroyed. Rather than immolating the reader, Keene’s poems keep opening up, rippling dynamically outward, playing back and forth between self and other, scene and setting, softly encouraging you in each line to be more generous with your intimacy. What is most startling about reading Punks is that, perceiving the world through Keene’s eyes, you begin imperceptibly relaxing your own spiritual narrowness and start to notice yourself doing the unthinkable. You start loving others beyond the usual perimeter of your affection. 

Friends and Strangers: John Keene’s poetry of others (via twitter)

an experiment with Jorie Graham (may 3)

Graham’s poem inspired me to create a writing/noticing experiment for my list:

Follow along as Jorie Graham reads her poem, All. Then one day after it has rained, go to the gorge with her lines: “After the rain stops you can hear the rained-on” and “After the rain stops you hear the washed world”. Listen. Can you hear the rained-on? What does the washed world sound like? Make a list of your answers.

writing during the difficult minutes (may 5)

I listened to another great VS. podcast episode. This one was with Shira Erlichman. Early on, she said this:

I like in my day to have those boundaries and boundlessness. Like, okay, if I just have five minutes before I go mail a letter down the block, like, what can I squeeze into that time, or if I’m about to meet with a student, and I have 15 minutes, let me go edit a poem, because I’m going to be urgent as hell, while I edit that poem in that boundary, you know?

Then, today as I waited, as I always do, for my teenager to finish getting ready, come downstairs, go out the door, and off to high school, I had the idea of applying Erlichman’s limited minutes to my situation. My minutes — these excruciating minutes, sometimes 5 or 10 or 15 or more — are terrible. Reminding my daughter of the time, threatening her with punishment, attempting to reason never work. Her ability to resist time is impressive and often feels like it’s slowly destroying me. What if I used those minutes to try and write some lines of poetry? This fits with Erlichman’s idea and also with Bernadette Mayer’s suggestion in Please Add to this List to “attempt writing in a state of mind that seems less congenial”.

a mother’s day gift (may 8)

It’s Mother’s Day, and ever since my mom died in 2009, I haven’t liked this holiday. But yesterday, Scott and I went to Gustavus to take our son out for lunch (hooray for warm weather and patios!) and to pick up some of his stuff before he moves out of his dorm and returns home in two weeks, and he was so happy and kind and smart and excited about life that I’m not sad today but grateful and hopeful. What a wonderful human he is! His energy is infectious and inspiring and makes me want to be my better, happier, hopeful self, even in the midst of so much terribleness in the world. Such a great gift for Mother’s Day!

Robin Wall Kimmerer (may 15)

Yesterday I began listening to an old On Being interview with Braiding Sweetgrass author Robin Wall Himmerer. Here are a few great passages so far:

1

Kimmerer: One of the difficulties of moving in the scientific world is that when we name something, often with a scientific name, this name becomes almost an end to inquiry. We sort of say, Well, we know it now. We’re able to systematize it and put a Latin binomial on it, so it’s ours. We know what we need to know.

But that is only in looking, of course, at the morphology of the organism, at the way that it looks. It ignores all of its relationships. It’s such a mechanical, wooden representation of what a plant really is. And we reduce them tremendously, if we just think about them as physical elements of the ecosystem.

2

…attention is that doorway to gratitude, the doorway to wonder, the doorway to reciprocity. 

3

What I mean when I say that science polishes the gift of seeing — brings us to an intense kind of attention that science allows us to bring to the natural world. And that kind of attention also includes ways of seeing quite literally through other lenses — rhat we might have the hand lens, the magnifying glass in our hands that allows us to look at that moss with an acuity that the human eye doesn’t have, so we see more, the microscope that lets us see the gorgeous architecture by which it’s put together, the scientific instrumentation in the laboratory that would allow us to look at the miraculous way that water interacts with cellulose, let’s say. That’s what I mean by science polishes our ability to see — it extends our eyes into other realms. But we’re, in many cases, looking at the surface, and by the surface, I mean the material being alone.

But in Indigenous ways of knowing, we say that we know a thing when we know it not only with our physical senses, with our intellect, but also when we engage our intuitive ways of knowing — of emotional knowledge and spiritual knowledge. And that’s really what I mean by listening, by saying that traditional knowledge engages us in listening. And what is the story that that being might share with us, if we knew how to listen as well as we know how to see?

4

…science asks us to learn about organisms, traditional knowledge asks us to learn from them. 

attention is magic (may 16)

Before my run, Scott and I were talking about how some new cars seem to shut off when they’re stopped, and then start up when they begin moving again. I’ve been telling Scott about this phenomenon for at least a year now. I always hear it when I am approaching a stop sign at the beginning of my runs. He would never hear it. We joked that I was doing something to cars that made them stall. I have a reputation for making some things not work — like watches or phones. This morning, while driving RJP to school, they both heard it happen several times. He looked it up and discovered that some new cars are designed to do this now. It saves gas, I guess. I said to him that I heard it because I notice things; I’ve been training for years to give attention to the world, and to notice (and register and wonder about) the things I notice. During my run, I thought about our conversation, and a thought occurred to me: attention is magic. It enables us to witness impossible things — or things that seem impossible to us. I feel like I might be forgetting part of this thought; there was more to this idea of attention and magic that I’m forgetting right now.

Someone is Writing a Poem (may 23)

Someone posted an excerpt from Adrienne Rich’s essay Someone is Writing a Poem. Wow! Here are a few bits I’d like to remember:

The reading of a poem, a poetry reading, is not a spectacle, nor can it be passively received. It’s an exchange of electrical currents through language—that daily, mundane, abused, and ill-prized medium, that instrument of deception and revelation, that material thing, that knife, rag, boat, spoon/reed become pipe/tree trunk become drum/mud become clay flute/conch shell become summons to freedom/old trousers and petticoats become iconography in appliqué/rubber bands stretched around a box become lyre. 

Take that old, material utensil, language, found all about you, blank with familiarity, smeared with daily use, and make it into something that means more than it says. What poetry is made of is so old, so familiar, that it’s easy to forget that it’s not just the words, but polyrhythmic sounds, speech in its first endeavors (every poem breaks a silence that had to be overcome), prismatic meanings lit by each others’ light, stained by each others’ shadows. In the wash of poetry the old, beaten, worn stones of language take on colors that disappear when you sieve them up out of the streambed and try to sort them out.

on love and joy (may 29)

Here’s some wisdom from @chenchenwrites that I found on twitter the other day:

as i’m always telling my students—why start from scratch? look at some paintings. look at photography. take a long walk. smell some basil. flip through an old notebook. tweak a favorite song lyric. follow what you already love into its forest. deepen that love. step into it more

and @hechizante777’s reply:

I worry that so many of my students (potentially pressured into nursing or other healthcare majors) simply haven’t had opportunities to figure out what they love… how to make space for that in an era of violence and scarcity?

Making space for figuring out what we love and then loving it in an era of violence and scarcity. So difficult. This discussion reminds me of Teju Cole and his interview with David Naimon for Between the Covers, especially this part:

This frenzied capitalism that we live in—what I’ve been calling market totalitarianism—produces loneliness, existential isolation that deprives people of the tools with which to navigate their place in the universe. This might be genuinely new in the history of the world, cultures have always provided people with those tools, and now we’re all just screaming into the void. Because we’ve been robbed of many, many of the tools that help anchor human experience in the world. I remember what Sun Ra said, he said “Everything comes from outer space.” Everything, it’s all meteors, it’s all from the sun. “The only thing Earth produces is the dead bodies of humans,” he said. I feel in a very vital way that the only thing market totalitarianism really produces is human alienation, depriving us of the tools with which enfold ourselves in the fabric of time. So when I encounter a quintet by Brahms, or traditional Papuan flute music, these are things that give me a chance to re-enfold myself in those sustaining human networks; to the mystery of being alive.

Teju Cole interview

And I’m also thinking of Haniq Abdurraqib’s “On Joy” (which I found very early this morning via twitter):

I don’t know what to do with all of the world’s burning anymore. Sometimes we start the fire directly, other times we’re unwitting accomplices to it, and then there are times when the smoke rises and dances above our own doorsteps, and we’re just too tired to keep the flames under control. I turn on the TV and people of color are still dying. I read the news and people in Trans communities remain dismissed, remain punchlines until they are dead, and people are still laughing at the bad joke. I talk to the women in my life and hear how they’re treated as a different class of person entirely. I don’t have the luxury to not dismantle the systems that allow for those things, and more. I am impacted by it, in some ways, I’m complicit in it, and it’s hard to sit idle while knowing those things. While being afforded a platform, artistic and otherwise.

When we talk about “the work”, as writers, so many of us mean the actual work of writing. The work on the page, of course. After a year of wrestling with the fragility of my own life, and the life of my closest human love, I realized that “the work” is also the work of living. It is the work of loving others when we can, taking care of ourselves when we can, and knowing not to let the former overwhelm us into forgetting the latter. Those two different types of work are two rivers flowing into the same body of water, for me. I don’t know how to write healthy and productive poems if I’m only doing one side of the work.

The only promise here is that I will wake up tomorrow and be as exhausted by the world as I was today. Sure, I may find a brief reprieve in a panda video (or, in the case of the particular tomorrow at the time of this writing, the new Terrance Hayes book!), but I will still find myself going outside to throw water on whatever flames I can, my arms weakening. I know that they will be there, every day. But even through all of it, something happened at around the end of last year. I started writing poems about being married. About my father, still healthy and living. About the friends I love and miss dearly. About my dog. I realized this urgency to archive the things that are not promised. I need the joy in my life to live outside of my body. I need to see it, to touch it. I need that outside of my body even more than I need the rage, confusion, and sadness on the outside. I know the sadness will always replenish itself. There is no certainty in almost anything else. I don’t know how long I’ll get to hear my wife sing along to pop songs in the car during road trips. I don’t know how much longer I’ll get to talk to my father with him remembering who I am. I don’t know when my dog will be too old to rush towards me with a wagging tail whenever I come back from an especially long trip. I need those things to live in other places. I need to have them outside of me so that I can run into them on the days where I will need to. Surely, each small joy has an expiration date. I have touched the edges of them. I don’t know how to fight against this reality except for to write into these moments with urgency. With fearlessness and hunger.

And all this has to travel from the nervous system of the poet, preverbal, to the nervous system of the one who listens, who reads, the active participant without whom the poem is never finished.

We go to poetry because we believe it has something to do with us. We also go to poetry to receive the experience of the not me, enter a field of vision we could not otherwise apprehend.

But most often someone writing a poem believes in, depends on, a delicate, vibrating range of difference, that an “I” can become a “we” without extinguishing others, that a partly common language exists to which strangers can bring their own heartbeat, memories, images. A language that itself has learned from the heartbeat, memories, images of strangers.

Someone is writing a poem. Words are being set down in a force field. It’s as if the words themselves have magnetic charges; they veer together or in polarity, they swerve against each other. Part of the force field, the charge, is the working history of the words themselves, how someone has known them, used them, doubted and relied on them in a life. Part of the movement among the words belongs to sound—the guttural, the liquid, the choppy, the drawn-out, the breathy, the visceral, the downlight. The theater of any poem is a collection of decisions about space and time—how are these words to lie on the page, with what pauses, what headlong motion, what phrasing, how can they meet the breath of the someone who comes along to read them? And in part the field is charged by the way images swim into the brain through written language: swan, kettle, icicle, ashes, scab, tamarack, tractor, veil, slime, teeth, freckle.

Harryette Mullen and Urban Tumbleweed

The other day, I discovered that Harryette Mullen wrote a collection of tanka poems as part of her daily practice of walking and writing poetry. Very cool! It’s called Urban Tumbleweed, and I’m planning to use it in the class I’m teaching at the end of this month. 

Here’s some of her introduction:

Merging my wish to write poetry every day with a willingess to step outdoors, my hope was that each exercise would support the other. 

She wrote a tanka a day, inspired by a walk, for roughly a year. 

This is a record of meditatios and migrations across the diverse terrain of southern California’s urban, suburban, and rural communities, its mountains, deserts, ocean, and beaches.

Five letter words

Here’s some fun with five letter words. I love five letter words and five syllable lines and experimenting with the number five! (and Questlove.)

as assay (june 4)

Found this poem by Jane Hirshfield on twitter this morning:

Termites: An Assay/ Jane Hirshfield

So far the house still is standing.
So far the hairline cracks wandering the plaster
still debate, in Socratic unhurry, what constitutes a good life.
An almost readable language.
Like the radio heard while traveling in a foreign country—
You know that something important has happened, but not what.

What is an assay? Searched online and found this: “the term, she says, is used as it is ‘in the mining industry, where a substance is disassembled and analysed to determine the strengths and quality of its various parts; only in this case the examination is done with the imaginative mind rather than the chemical one.’

Neighborhood Haunts (june 5)

1. Running by cooper school, I thought about the man I saw a few years ago working out by flipping a heavy sand bag across the field. Does he still do that, or has he moved onto some other strange (at least to me) way of keeping fit? 
2. Running down the hill toward (is it toward or towards?) edmund, I looked for the house with the fruit vines closest to the sidewalk. 2 or 3 years ago, the owners had posted a sign that encouraged anyone to take the fruit. The sign also said what kind of fruit it was, but I can’t remember. 
3. Also ran by the big, super cool 60s ranch house on the corner with the three gigantic cottonwood trees. The lawn was almost white with cottonwood fuzz. How difficult is that to rake up? Do you rake it up, or leave it — and, does it ever leave?

Things the Flew in my Face, a list (june 6)

1. a small, but not too small, bird flying out of the leaves towards me, then veering quickly, making me stutter step and raise my hands to my eyes
2. a gnat, into the liquid protein in my right eye — it might still be in there…yuck!
3. cottonwood fuzz
4. another bird, not as close this time
5. the leafy branch of a tree on the side of the trail
6. wind

Ada Limón — Look, I’m alive (june 6)

Question: What is the poet’s role in finding meaning in the world, and what is our duty in deciding to reject meaning? Talk to me about the work of meaning making. Talk to me about the work of surrender and release?

Answer: That’s the nature of life, isn’t it? To desire to make meaning and then surrender to the mystery and the repeat and repeat and repeat. Toni Morrison once said, during her Nobel Prize speech in 1993, “We die. That may be the meaning of life. But we do language. That may be the measure of our lives.” And to me that quote is all about surrendering to our mortality, accepting our end, and yet recognizing the ways in which we honor our time here. How we point out the beauty, the pain, the full spectrum of all of our experience, so that we can live wholly, completely, and not miss the living we’ve been granted. Sometimes the message is only, “Look, I am alive.” And it does not have to transcend that. Why would it? What could be bigger than that?

an interview with Ada Limón

a new podcast to check out (june 11)

I stumbled upon a poetry podcast that I’d like to try out: Words by Winter

Words by Winter: Conversations, reflections, and poems about the passages of life. Because it’s rough out there, and we have to help each other through. Each brief episode includes a story or conversation, along with a poem.

The creator/author of this podcast is based in Minneapolis, which is pretty cool.

Simone Weil (june 15)

Thinking about Simone Weil for my class this morning. I like this paraphrasing of her in a lithub article:

To attend means not to seek, but to wait; not to concentrate, but instead to dilate our minds. We do not gain insights, Weil claims, by going in search of them, but instead by waiting for them.

fill in the blank (june 22)

About a mile and a half into my run, I overheard one woman walker say to another: “I mean, I wasn’t arrogant or anything, I just said ______.” I was past them before I could hear what she said. What did she say? I’ll never know, but I can imagine. This reminds me of a poem I wrote last fall:

vii.

Eavesdrop 
on the words
scattered
by wind and 
careless
voices. Not 
concerned
with manners, 
no need
to be nice. 
Feel the
disconnect
between
you, the path,
other
people. Free, 
off the
hook, unseen,
able
to listen 
in, to
overhear 
and not
be judged, to 
invent
dialogue, 
give it
another 
ending,
turn it all 
into
a better 
story.

a new experiment (june 22)

Speaking into my phone at the bottom of the hill gave me an idea for an experiment that I might want to try again. Run to the bottom of the hill. Turn around and as you walk back up it, pay attention. What do you notice? How many different sounds can you hear? What do you see? Speak some of your observations into your phone.

some attention exercises (june 24)

excerpts from TL;DR/ CA Conrad
This poem comes from an entire issue devoted to Attention!

little beautiful musical measures of breath (june 27)

Don’t remember how I found it, but I’m very glad I did: an interview between poets Ross Gay and Tess Taylor discussing the connections between gardens and poetry. Here’s something from it I’d like to remember:

TAYLOR: It’s funny, too, because poems remind us that we live in breath, which also reminds us that we live in bodies. Poems are about breath. Poems are about sharing breaths, sharing little beautiful musical measures of breath.

GAY: That’s exactly right. Like, poems are made of breath. So poems are bodily in themselves. And when we read them to other people, they become part of other people’s bodies. Or when we read other people’s lives, the way they’ve constructed a poem, we’re breathing them.

Here’s What Makes Poetry and Gardens a Perfect Pair

wasting time with John Ashbury and Mary Ruefle (july 6)

John Ashbery, in an interview… : “I waste a lot of time. That’s part of the [creative process] ….The problem is, you can’t really use this wasted time. You have to have it wasted. Poetry disequips you for the requirements of life. You can’t use your time.” — Mary Ruefle in Madness, Rack, and Honey

poetry invites and woodpeckers have small brains (july 15)

Here’s a great quote that I found (the quote on twitter, the original source from an interview of poets.org):

There is something very important and vital in poetic expression. The way that language is used to just connect us to parts of our experience, that can’t be captured in the linear, prosaic sense, and the instructional register, the command register. Poetry doesn’t do that. Poetry invites us to question, to discover, to delight, to be odd, to be frightened—all of these wonderful emotions that actually open doors inside us and to the world. 

Erica Hunt interview

Scott send me a very interesting article about new research on woodpeckers and how they’re able to withstand the force of their constant drumming. A couple years ago, when I was researching woodpeckers and writing poems about their drumming, I mentioned learning (I can’t seem to find the entry right now) about how woodpeckers’s heads offer good shock absorption. According to this article about a recent study, that’s not true. Their heads act like hammers and the reason they’re able to endure so much pecking is because their brains are so small. Fascinating.

running vs. walking: some differences (july 17)

“A few days ago, I stumbled upon a brief essay about running and how it differs from walking:

But the act of running gives me something I cannot get from a walk, and that is total mental freedom. I agree with Kierkegaard that walking is objectively better than sitting, in terms of feeling good. But it is not always sufficient. And although the day-to-day business of writing is closely connected to walking, the business of being a functioning person – for me – requires something else. Running demands that you concentrate on something which requires almost no conscious thought at all. It is a particular kind of thinking which is all about the next few seconds and entirely pragmatic: mind that low-hanging branch, is that dog on an extendable lead, am I about to get mugged by a flock of Canada geese (the nightclub bouncers of the bird world). It also proves that you are more, or at least other, than you think.

Stepping Up to the Page / Natalie Haynes

the space between (july 22)

The other day, searching for something else, I found this beautiful interview with Marie Howe from 2013 for Tricycle. She’s talking about losing her beloved brother Johnny and the space she had for grieving. These words fit with other words of her that I’ve read and loved and just used in my class. Putting them in the context of her grief makes them glow even brighter for me:

MH: That was really a big deal. I was given this place to be without any expectations really. And everything changed so that the particulars of life—this white dish, the shadow of the bottle on it—everything mattered so much more to me. And I saw what happened in these spaces. You can never even say what happened, because what happened is rarely said, but it occurs among the glasses with water and lemon in them. And so you can’t say what happened but you can talk about the glasses or the lemon. And that something is in between all that.

KPE: It’s like the Japanese esthetic word of ma. It’s so wonderful. The space between….

MH: This is the space I love more than anything. And this became very important, but there’s no way to describe that, except to describe “you and me.” And there’s the space. I make my students write 10 observations a week—really simple. Like, this morning I saw. . . , this morning I saw. . . , this morning I saw. . . —and they hate it. They always say, “This morning I saw ten lucky people.” And I say, “No. You didn’t see ten lucky people. What did you see?” And then they try to find something spectacular to see. And I say, “No.” It’s just, “What did you see?” “I saw the white towel crumpled on the blue tiles of the bathroom.” That’s all. No big deal. And then, finally, they begin to do it. It takes weeks. And then the white towels pour in and the blue tiles on the bathroom, and it’s so thrilling. It’s like, “Ding-a-ling, da-ding!” And some people never really take to it. But I insist on it. What you saw. What you heard. Just the facts, ma’am. The world begins to clank in the room, drop and fall, and clutter it up, and it’s so thrilling.

KPE: Because it clanks and falls?

MH: Yes! It does. It’s like, “Did you see it? Did you see it?” Everybody goes “Whoa!”

Marie Howe: The Space Between

a fun experiment to try (july 23)

One way you might achieve a similar effect in your own poetry is through the cut-up method I’ve described. If you have a few less-than-wonderful drafts, try splicing them together. In a way, it’s like braiding hair: You pull a line from here and a line from there, weaving them together until you have created a more complex structure than what you had to begin with. If your original two drafts are on the same subject, they may fit organically together to form a new poem. But it’s especially interesting if the original poems are very different from each other. You’ll likely have to weave in new thoughts too. For those of you who keep a file of evocative fragments, as I recommended in my first craft capsule, that file would be a good source to consult for a project like this.

Make it Strange/ Lauren Camp

john ashbury on accidents (july 28)

I think that in the process of writing, all kinds of unexpected things happen that shift the poet away from his plan and that these accidents are really what we mean when we talk about poetry.

john Ashbury on twitter

from Short Conversation with Poets: Linda Gregerson (july 29)

For the most part, I try to hold off on the “about” part for as long as I can. Attending to syntax and stanza form is one of the ways I try to do that. No one needs to hear me ruminate (or worse, hold forth) on something I already think I know. In one of her very early poems, Brenda Hillman wrote something like “the jetty of my ignorance” (I’m sure I’m getting that wrong: I seem to remember a walkway of some sort and a large body of water). Jetty, or footbridge, or causeway, the point is this: a certain kind of ignorance is good, even necessary, for the making of a poem. I’m not talking about willful mystification or atmospherics, God forbid, but rather about the momentum of good-faith wanting-to-discover-something. Deferring the “about” part is rather like deferring the main clause of a sentence: it stores up energy.

All of us carry around enormous repositories of grief and longing and wonder and memory, and these will always make their way into poems. Frontal attack, I’ve found, is rarely the way to unlock them.

“the momentum of good faith wanting-to-discover-something”
“Deferring the “about” part is rather like deferring the main clause of a sentence: it stores up energy.”
“Frontal attack is rarely the way to unlock them [grief,longing,wonder, memory].”

…the most profound and durable source of wonder for me is my “thrownness” into the biological world. I am perpetually astonished by the mystery of living in a body that, whatever its limitations, is so much smarter than I am. A body that handles more things, is infinitely more complex than what I think of as my “self,” a body that does things I could not possibly do on purpose, and which I inhabit as a kind of guest. 

“the mystery of living in a body that is so much smarter than I am.”
“infinitely more complex than what I think of as my ‘self’…”

I don’t think poetry is antithetical to reasoned thought. But I do think the experience of standing before the world in wonder and wanting to come to what mindfulness we can is a very important stance. In my experience, it’s our common stance, common to poets and scientists alike. 

I have been the beneficiary of instruction, or let’s just call it patient explanation, from people who are exquisitely trained in neurophysiological research, my late sister chief among them. The magic of that research is the combination of aptitudes it requires: capacities for abstract inquiry, tolerance of provisional thinking, and a daunting array of practical skills. The scientist needs to posit a hypothesis in order to formulate her question, and then to design an experiment that might help her refine the question, and she has to be prepared to jettison that hypothesis if her experimental results tell her it’s insufficient. You have to be invested in order to pursue the question, in other words, but you also have to be prepared to be corrected. I think that’s also a moral stance. You can’t be not-committed, you must be strongly committed and yet prepared to be corrected.

“you must be strongly committed and yet prepared to be corrected.”

Poets don’t need to be tragic (august 2)

Discovered this wonderful piece in the latest issue of Visible Binary: Ignition Chronicles / CAConrad

We live our lives with our list of daily routines, from washing our bodies to obeying traffic signals on our way to work. There is so much to remember to get through the day. When tragedy disrupts our routines, suddenly, all of our attention is centered on that loss. It is in the focus of loss where many believe they can write better: Focus, the keyword.

It is crucial to learn that the focus the depression offers helps us write, not the depression itself. After we finally understand this, we see how we can orchestrate any focus we want, to write whenever and however we want! (Soma)tic poetry rituals have given me eyes to see the creative viability in everything around us for the poems!

I’m thinking about this idea of focus in terms of attention and Simone Weil’s idea of pure attention as not will but surrender, and how the disruption of grief forces a surrender and a loss of control. What rituals/practices can we create to enable that surrender without grief or tragedy?

on the last three lines of James Wright’s “A Blessing” (august 6)

Suddenly I realize
That if I stepped out of my body I would break
Into blossom.

It’s an ecstatic moment. We break horses; we break into song; daffodils break into blossom; the line broke on break; and the whole damn thing just broke me wide open. I read the poem again and again, always focusing on that lovely turn. It seemed the enjambment to end all enjambments, 

Crafty Craftiness of Uncraft/ Michael Bazzett

idea for a lecture for my podcast (august 9)

I’d talk about these various ways that runners and writers try to hold onto thoughts while they are moving and the idea of thoughts and what happens to them while you’re moving. A lot of poems, possibly multiple lectures about this topic. At the end of the lecture, I could offer a few activities that I do to hold onto thoughts.

open water swimming and poetry (august 16)

Dawn Swimmer describes how they try to return to the “elementals” to center themselves and to clear their mind. 

Blue. Green. Tree. Breath. Arm. Hand. Bubbles. Sun. Moon. 

Sometimes when I’m open water swimming, with my mind full of thoughts and I want to clear it, I turn to elementals like primary colors. Single words for single moments. I turn my head to breathe, life giving agent, and there is the Sky. Cloud. Pink. Sun. Sensation. Joy. Cold. Water. 

Simplicity emerges. Each breath, a word. And, yes, Water. Water. Water. Always water, everywhere. Me inside the water. The water inside of me. 

Slicing through the waves, the currents, the liquid aqua. I’m flowing and moving somewhere and nowhere. Rock, Buoy, Colored house. Or perhaps, there’s a long section with nothing to distract me. The mind wanders. I turn my head to breathe. Mountain. Pine. Boat. Moored. 

Swimming My Verses: Poetry & Open Water Swimming

Deep Looking with Ada Limón and Nathaniel Hawthorne

The Rumpus: You write, “I am getting so good at watching.” What is the role of close observation in poetry, and how as poets can we better cultivate the skill?

Ada Limón: I think that’s a great place to start. Really watching, noticing, and deep looking—not the distracted looking, but really curious looking—that’s a way of loving and a way of valuing, and I don’t think I knew that before. I think that I thought watching was part of life, and I thought it was part of the creative work of being a poet. And I always thought observation was important, but I didn’t know it was also the thing that connected you to the world on a larger scale, not just in the way of making poems and making art, but in the way of making your life feel connected and whole and complete.

When I’m feeling blue, which I often do, just watching even for five minutes, the birds, or even just looking at my plant in the window, just the smallest thing, or looking at my dog, I’m reminded of what it is to be a living thing amidst this living world. In some ways it takes me out of myself. If I were to offer that to other people, what it is to look without the foregone conclusion, without the narrative, without the—What am I going to turn this into?—but instead to look with a real curiosity and to de-center themselves a little bit in that looking.

Resurrection On A Daily Basis: Exploring The Hurting Kind with Ada Limón.

Deep looking is without judgment or expectation or a pre-formed narrative. It involves de-centering ourselves. She describes it as watching or looking or staring? Does this looking always mean close scrutiny? Limón suggests that this watching connects us to the world. 

Now I’m thinking about another passage on looking/observing/noticing that I recently encountered (via BrainPickings/the Marginalia) from the writer Nathaniel Hawthorne:

The best way to get a vivid impression and feeling of a landscape, is to sit down before it and read, or become otherwise absorbed in thought; for then, when your eyes happen to be attracted to the landscape, you seem to catch Nature unawares, and see her before she has time to change her aspect. The effect lasts but for a single instant, and passes away almost as soon as you are conscious of it; but it is real, for that moment. It is as if you could overhear and understand what the trees are whispering to one another; as if you caught a glimpse of a face unveiled, which veils itself from every willful glance. The mystery is revealed, and after a breath or two, becomes just as great a mystery as before.

Nathaniel Hawthorne

I like the idea of not focusing on (or closely watching) something, but letting it find you. As I read this again though, I don’t like the language he uses — “overhear, catch Nature unawares, catching a glimpse of a face unveiled.” I don’t like the idea of spying on nature (or being a peeping Tom!). 

about buoys (august 25)

 buoys are liminal. Both immersed in the water and bobbing in air. They are both warning and protection. Buoys indicate boundaries which are dynamic rather than fixed—boundaries comprised of light and imagination and mutual agreement. No hard lines, no barriers, no fence of barbwire and concrete…

Bright Buoy, Dark Sea/ Lauren K. Carlson

 I remembered Susan Howe’s description of ED’s poetics of humility and hesitation in her book, My Emily Dickinson (I bought this book earlier this summer. Is this a sign that I should read it now?). 

Emily Dickinson took the scraps from the separate “higher” female education many bright women of her time were increasingly resenting, combined them with voracious and “unladylike” outside reading, and used the combination. She built a new poetic form from her fractured sense of being eternally on inteIlectual borders, where confident masculine voices buzzed an alluring and inaccessible discourse, backward through history into aboriginal anagogy. Pulling pieces of geometry, geology, alchemy, philosophy, politics, biography, biology, mythology, and philology from alien territory, a “sheltered” woman audaciously invented a new grammar grounded in humility and hesitation. HESITATE from the Latin, meaning to stick. Stammer. To hold back in doubt, have difficulty speaking. “He may pause but he must not hesitate”-Ruskin. Hesitation circled back and surrounded everyone in that confident age of aggressive industrial expansion and brutal Empire building. Hesitation and Separation. The Civil War had split American in two. He might pause, She hesitated. Sexual, racial, and geographical separation are at the heart of Definition.

My Emily Dickinson/ Susan Howe

Some other syllable forms to try (august 27)

I found this interview with Victoria Chang: The Arc Moves a Little Upwards: A Conversation with Victoria Chang Curated by Lisa Olstein. Here are a few bits I’d like to remember:

I use many different types of syllabics such as tankas, katautas, chokas.

Later, I’ll look these up. I’m always looking for new forms!

LO: “Form sets the thought free,” says Anne Carson, and I believe her. How did form and thought co-evolve in the unfolding of this work?

VC: I love this quote. I have heard similar things said in different ways. I myself sometimes say form is like putting the guard rails up while bowling–what freedom that gives to the process of bowling (one feels more free while releasing the ball) and then there’s a better chance of getting a strike. But of course, Anne Carson is more elegant than I am with her quote. 

For The Trees Witness Everything book, form was the main constraint (and freedom) of the poems. I had to rewrite lines, phrases, in some cases, entire poems because the syllables didn’t work. The constraints truly freed up my mind to go wherever the poem needed/wanted to go.

Building an Emotional Image with Natalie Diaz (sept 1)

The other day, I listened to a tinhouse lecture with Natalie Diaz about Building the Emotional Image. She discusses identifying the images that we are obsessed with. As I walked up the hill and talked into my phone about my run, I discussed 2 of my image obsessions: shimmering, sparkling water and how the sounds of the gorge — the hum of the city, the whoosh of the car wheels, the call of the birds, the buzz of the cicadas and leaf blowers — sing together

writing idea: the women at the lake (sept 5)

Walking back, after the run, I started thinking about the little girl, with the same name (and spirit) as my daughter, that I encountered at the end of an open swim one day. The image that lingers: her mischevious look after calling out a made-up Help! I’d like to write about her and a few of the other women I encountered in the water this summer. I wish I could remember more of these women. Maybe I’ll try?

paying versus giving attention (sept 6)

The other week, Scott and I were discussing the difference between paying and giving attention. I can’t remember everything we said, but here are some things I do remember: 

Paying attention seems to be a demand, obligation, requirement. An annoyed teacher tells you sternly, Pay Attention! and might add, This will be on the test! It also suggests staring, focusing, closely concentrating, exercising your will, which indicates that attention is (only) a mental activity. 

Giving attention is something given freely. To give attention to something is to turn to it, to notice it, but not necessarily to scrutinize, categorize, or classify it. You’re offering something, not because you have to, or because you want something in return. note: I want to read more about giving in Braiding Sweetgrass.

Alice Oswald and swimming (sept 11)

I sometimes wonder whether I’m a very keen swimmer, and whether for me, poetry is equivalent to swimming. I’ve often noticed when I swim, the strangeness of the way the body literally turns into a fish, but the head remains human and rather cold, and looking around at this strange flat reflective surface. I’m often very piercingly aware of the difference between my head and my body when I’m swimming because I’m not necessarily someone who goes underwater, I love swimming along the surface of rivers. Perhaps, my poems do feel a need to convey that continued separation of the head remaining human and the body becoming animal, or plant, or mineral, or whatever it can be. In some way, I suppose I’m trying to find rhythms that will heal that divide.

I think that’s exactly it, that we seem to exist as bodies and minds. That’s always slightly troubled me that I can’t quite make them be the same thing. I always have two narratives going on and it’s extraordinary the way the mind is floating around seemingly quite untethered and yet the body has all these laws like gravity, and limit, and size, and hunger, that it’s obeying. How those two interact and how they come to define what it is to be human is again—I’m wary of using the verb think because I don’t think poetry is necessarily about thinking—but it gets hold of questions, and reveals them as questions, and then reveals what’s underneath them, and then what’s underneath that. I suppose each book tries to peel away a layer of that problem and present it again.

Between the Covers interview with Alice Oswald

Try to always keep the door open (sept 20)

After the run, while doing the dishes, I listened to an Ali on the Run podcast episode with Deena Kastor. Here’s a bit of it that I’d like to remember:

Ali: How do you keep going when a race isn’t going your way?

Deena: I think we always have the opportunity to talk ourselves out of something, or talk ourselves into something. And I feel, time and time again, how I am so suprised at how, when I talk myself into something, how it can get the job done. You can rely on excuses and feel okay with those excuses, but when you shove those excuses aside and you just convince yourself that one more step is the right thing to do, it’s amazing how we can accomplish something.

I am good at talking myself out of things and having excuses/rational and reasonable explations for why I’m not doing something. Sometimes this is okay, but…I’m finding myself saying no too often. I wouldn’t call it giving up, instead, I think of it as a narrowing of my world/options, a shutting of doors and foreclosing of possibilities. Lately, I’ve given myself a goal: keep the door open. Don’t do things/make choices that close the door. It reminds me of a line from Ron Padgett’s great poem “How to Be Perfect“:

Imagine what you would like to see happen, and then don’t do
anything to make it impossible.

Pádraig Ó Tuama on poetry (sept 24)

A quote from the wonderful Pádraig Ó Tuama about poetry:

A little block of letters in the middle of a blank page can open up windows into your world, and offer help, insight, company, spaciousness, reflection, and solidarity. In solitude we can appreciate a deeper solitude. In need we can approach company.”

—Pádraig Ó Tuama@duanalla

Ríos on neglected chores and magic (Oct 6)

I really appreciate Ríos’ description in “About this Poem” (The Secret in the Mirror/ Alberto Ríos):

…this poem speaks to the everyday lives we also lead—not cleaning the bathroom sink quite as much as we perhaps should, not always controlling the floss strings of good intentions now turned wild, not vacuuming nearly enough. But even in the mundane, we have, always at hand, surprise, surprise at its most savory in that we have least expected to find it where it is not advertised.

Surprise. Yes! I’m struck by how my failing vision creates a lot of surprise as my brain attempts to guess what I’m looking at. My vision aside, I also like the idea of finding the magical in the moments when the mundane fails, like when we fail to clean our bathroom mirror.

to be around for 50 more years (nov 7)

None of this matters at all very much is you die tomorrow—that wouldn’t even be cute. It only matters if you make a commitment to be around for another fifty more years. There are some grey haired women I see running around occasionally, and we have to talk to those folks about how come they didn’t commit suicide forty years ago. Don’t take everything they say because some of the stuff they gave up to stay around ain’t worth considering. But be sure you get on your agenda some old people and try to figure out what it will be like if you are raging radical fifty years from today.

Think about yourself that way. What would you be like if you had white hair and had not give up your principles?“

Coalition Politics: Turning the Century” / BerniceJohnson Reagon, and here’s an easier-for-me-to-read pdf of the essay.

Optical Illusions (nov 15)

Not sure if this really fits, but the in-betweeness and ambiguity of a gray area, makes me think of optical illusions like the duck and the rabbit, or the old lady and the young woman, or the white and gold or blue and black dress, which makes me think of this passage from Georgina Kleege:

I surmise that my general visual experience is something like your experience of optical illusions. Open any college psychology textbook to the chapter on perception and look at the optical illusions there. You stare at the image and see it change before your eyes. In one image, you many see first a vase and then two faces in profile. In another, you see first a rabbit then a duck. These images deceive you because they give your brain inadequate or contradictory information. In the first case, your brain tries to determine which part of the image represents the background. In the second case, your brain tries to to group the lines of hte sketch together into a meaningful picture. In both cases there are two equally possible solutions to the visual riddle, so your brain switches from one to the other, and you have the uncanny sensation of “seeing” the image change. When there’s not much to go — no design on the vase, no features on the faces, no feathers, no fur — the brain makes an educated guess. 

When I stare at an object I can almost feel my brain making such guesses.

Sight Unseen / Georgina Kleege

Ross Gay on Joy (Dec 2)

Today, I’m posting something from Ross Gay about joy. Wow!

Yes, that’s how it seems to me, that we need practices, or we need to notice the practices we have, that help us be present with our sorrow. I’m not saying that help us drown in our sorrow—I’m saying be present with it, acknowledge it, befriend it even, lest we do some wretched or devastating shit trying to pretend it’s not there, or trying to hide it. And to do it in a mutual way—which, again, might be in some of our practices: dancing, gardening, mourning—but it might also be how we live, how we attend to one another, with the awareness that, yup, like me, your heart is broken. Probably not in exactly the same way, but probably, no, definitely, it’s broken. And it will go on being broken in various ways. It does not make us special, it seems to me. It makes us like each other. It un-others us from each other in fact. What happens if we live like that? My sense is that we’re more inclined to care for one another, we’re more inclined to love one another, which, yes, might be a kind of resistance to institutions who have little care for us, but it might also end up being a kind of offense to them. When we care for each other, and consequently are less reliant on the institutions or systems that, a lot of them anyway, do not care for us, we make those systems less necessary. We might be replacing those systems with something like love.

Cultivating Delight and Meaning with Ross Gay

Ross Gay on Joy and Pain (dec 4)

To define joy, he begins by saying what it’s not: it’s not sparking joy or capitalist-joy-as-acquiring-better-stuff-or-doing-big-things. It’s not the happy place where you go to be safe or comfortable — a sanctuary protected with a heavy lock, keeping out all the bad stuff: heartbreak, sadness, worry. It’s not unserious or frivolous to talk about (or experience), even as we are made to think it is, and it’s not separate from pain and suffering:

But what happens if joy is not separate from pain? What if joy and pain are fundamentally tangled up with one another? Or even more to the point, what if joy is not only entangled with pain, or suffering, or sorrow, but is also what emerges from how we care for each other through those things? What if joy, instead of refuge or relief from heartbreak, is what effloresces from us as we help each other carry our heartbreaks?

effloresces = blossoms

Emily Dickinson and Windows (dec 17)

As I was writing this last sentence, I started thinking about Emily Dickinson and how she wrote so many of her poems sitting in front of her windows, so I googled, “Emily Dickinson window” and this post was one of the top results: Emily Dickinson and the Poetics of Glass. Very cool! 

Aside from working in the garden and walking the grounds of the property, looking through windows was her primary mode of relating to the landscape around her.  Fortunately for Dickinson, she lived in a house abundantly punctuated by windows.

There were approximately seventy-five windows at the Dickinson Homestead.

Emily Dickinson and the Poetics of Glass/ Xiao Situ