I started revising my Haunts poem in October and worked on them all through November (I’m still working on them now, on the fourth of December). I think I am finally getting somewhere with them! And, a longer overview version of the poem is being published sometime soon! Occasionally I mentioned my writing in my log entries, but I spent more time writing on actual paper or in a pages document. So, no challenge this month.
Instead, here are a few things I’d like to remember:
nov 4
As I ran, I was thinking about water and stone and how I feel like both. Water, flowing and carving out new possibilities, and stone, slowly being worn down, transformed, losing layers. I also thought about air and its relationship to water and stone. Octavio Paz has a wonderful poem, Wind, Water, Stone. I also kept returning to the idea of erosion.
nov 6
As I ran, I kept trying to remember Lorine Niedecker’s geologic time: slow, long, layered. This terrible moment, a blip. Limestone, sandstone, shale, holding evidence of when Minnesota was part of the Ordovician sea millions of years ago. Glacial boulders still standing, indifferent to humans. The endless dripping and seeping and wearing down of ancient water. Not untouched (or left unharmed) by humans, but on a scale so much bigger than us or what we can comprehend.
Reading through past entries tagged with “water and stone,” I found this bit from march 13, 2024. Some of the same thoughts I was having this morning! Such loops and repeated cycles of thoughts!
restless water satisfied stone erosion movement
not 1 or 2 but 3 things: water and stone and their interactions
erosion, making something new — gorge
Then: Water as a poet / stubborn Stone yields, refuses, resists
water = poet / stone = words/language
erosion = absence, silence, making Nothing
me = eroding eyes / stone being shaped / a form of water shaping stone
I wear down the stone with my regular loops
Add a variation of this line, originally in my mood ring, Relentless, somewhere:
I am both limestone and water. As I dissolve my slow steady flow carves out a new geography.
In other rock-related news, FWA is planning to play the epically awesome bass clarinet Concerto for a Aria competition this spring. It’s called Prometheus and the four short-ish movements are based on Kafka’s short story about the myth:
There are four legends concerning Prometheus:
According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed. According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it. According to the third, his treachery was forgotten in the course of thousands of years, the gods forgotten, the eagles, he himself forgotten. According to the fourth, every one grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily. There remained the inexplicable mass of rock.—The legend tried to explain the inexplicable. As it came out of a substratum of truth it had in turn to end in the inexplicable.Prometheus / Franz Kafka
What to make of that inexplicable rock?!
nov 9
I had a thought about my Haunts project near the start of my run. I’m writing a lot about looping and orbiting, but I haven’t written about pacing back and forth — all of my out and back or turn around runs, when I cover the same ground twice, and stay on one side of the river. I’m thinking about the difference between restless pacing and cycles/loops/orbits.
nov 13
Thought about different time scales and how time works for me while I’m running — encountering memories of past Saras, echoing their movements. Imagining the gorge before Cleveland created the Grand Rounds, before Longfellow was a neighborhood, before the gorge was a gorge. Having no idea how much time had passed — never hearing the bells of St. Thomas or looking at my watch. Having no memory of small stretches of the trail — being lost in a thought or the motion or my effort.
nov 18
I’m still working on a section of my poem about progress and time and conservation. The ending turns to a vague reference to conversation of matter, where nothing is lost or gained, just transformed. Somewhere after the tunnel of trees, I suddenly thought, exchanged, and imagined oxygen being traded between lungs and leaves.
nov 19
The ventilation bit is taken from an article about the origins of the Grand Rounds, and the Victorian is Horace W.S. Cleveland:
The concept of The Grand Rounds was born from Cleveland’s “preference of an extended system of boulevards, or ornamental avenues, rather than a series of detached open areas or public squares.” This was not only an aesthetic consideration: Cleveland had lost many possessions in the 1871 Chicago fire, and saw parkways as an effective firebreak in built-up urban areas. In addition, Cleveland stressed the
sanitary benefits derived from parkways. Cholera, typhus, and other diseases plagued cities in the late nineteenth century. Parkways could save land from unhealthy uses and, reflecting the Victorians’ great
love for ventilation, carry “winds . . . to the heart of the city, purified by their passage over a long stretch
of living water, and through the foliage of miles of forest.”The History of the Grand Round