Ran a shorter version of the Marshall loop with Scott. We ran for 10 minutes, then walked for 1 minute, 3 times. I liked it as a way to keep everything more relaxed. My heart rate stayed lower too. No rowers on the river, no waffle smells coming out of Black. What else do I remember? Looked for the eagle perched on the dead tree below the lake street bridge. Nothing. Felt the soft salty sand on the edge of the sidewalk on the bridge. Got scratched by some dead branches poking out of a hedge.
A cross-breeze between this life and the imagined one.
I am stuck in an almost life, in an almost time. If I could say,
but I cannot, and so on. Sunlight dizzies through the barren trees,
the skyline, a blue fog against a yellow light, and on the highway
every Westward car blinds me. Every surface reflects
that quiet understanding: decisions have been made, irreversible decisions
to upend beauty for something approximate—the airport hotel,
its Eiffel Tower on the roof, a playground near the public storage.
Beyond, bridges like monuments to fracture, and a sign for Pain Law:
not metaphor, but litigation. Who would not, given acreage
in another’s mind, lie there for a while to watch the sky be sky?
I was drawn to this poem because of its discussion of the almost. I need to spend more time with it to understand, but I feel like Popa thinks of the almost life as a negative, as preventing access to the real (sky as sky). I think of the almost in more positive ways.
Also: Beyond, bridges like monuments to fracture, and a sign for Pain Law:
not metaphor, but litigation.
What does that mean — not metaphor, but litigation?
Another wonderful morning! Maybe a little too warm and sunny for me. I started my run late — almost 10:00 am. Ran through the neighborhood to the lake street bridge. Rowers! 2 or 3 shells with 8 rowers each. I don’t remember what color the water was — probably blue? — but I noticed a few little waves. I hit the lights right and ran all the way up the Marshall hill to Cleveland without stopping. Didn’t stop until I reached the river road a mile later. Walked for a minute and recorded some thoughts about black and darkness into my phone.
Mostly felt strong, but my legs were sore and tired for the last mile. I think I should get my iron levels checked again. Anything else? Didn’t hear the bells at St. Thomas, but heard the roar of a bunch of motorcycles. Encountered 2 kids in a little motorized car on the sidewalk; they were good drivers, giving me lots of space to pass them. I don’t remember hearing birds — I must have? — or seeing roller skiers. Noticed my shadow, sharp and strong next to me at one point.
For the first 3 miles I listened to my breathing or my feet hitting the asphalt or motorcycles. For the last mile and a half, a playlist: “Back in Black,” “Upside Down,” and “I’ll Be There.”
Mary Ruefle and Black Sadness
from My Private Property/ Mary Ruefle
Black sadness is the ashling, its remains are scattered over several provinces, it is the sadness of takes and hypen- ated names, of clouds who think they are grapes, it is the sadness of brooches, which may be worn on the breast or at the neck but how sad none see the sadness of detail there, the woman playing a guitar without strings, the hare leaping from the fox in vain, it is sadness torn and sadness rent, it is the hold in sadness from which no words escape and no soul can spring, it is the calorific sadness of bombs. Many of us used to own a black velvet skirt. It is like Angie Moss on her way to the fair, it is there she will have first adventure.
before the run
Today I will do the Marshall loop which goes by Black, the coffee and waffle place, and I will think about black and the dark and things that don’t echo but absorb, swallow, consume. I’d like to think about the comfort of black/the dark — the shade — in face of too much white/light.
during the run
I did it! I ran past Black and thought about black and darkness a lot. Some of the thoughts are gone, but some managed to stay.
10 Black/Dark Thoughts or Ideas or Images
no Black smells — that is, I don’t recall smelling coffee or the wonderful smells-better-than-it-tastes waffle smell from the coffee and waffle bar
today, with the bright, warm sun, I wanted the cooling darkness of shadows. My run was always felt better out of the bright light. Half the run was in shadows, half in bright light
so many pleasing shadows! Mine, sprawling trees, lamp posts, buildings
I didn’t hear the St. Thomas bells and, as I was nearing campus, I wondered if it was because something — the wind? — was absorbing their sound. Black bells ringing with a black, echo-less sound?
the dark/black mystery of deep trails down into the gorge
I saw a few waves on the river, but no sparkles. Thought about Homer’s wine dark and the idea of water as deep and dark and endless
my running shorts are at least 10 years old and were, at one time, black. Now, faded by the sun, they’re still black but barely, almost a very dark gray
running down the summit hill to the river road trail, thought about light as knowledge, liberated from Plato’s dark cave of shadows, then the dark womb and women’s ways of knowing and how light (and scrutiny and classifying — dissecting) are masculine, patriarchal and privileged over other ways of knowing, which are often read as feminine and less than, or to be overcome
if light = certainty (but does it?) and knowing for sure, what happens when we are finally certain? What ends when the darkness is over?
thought about the idea of black hearts and then what a literal black heart might look like or why someone might have it and then wondered if a literal white heart might not be just as disturbing*
*looking up black heart, I found this interesting discussion of its recent usage:
In the late 20th century, many black scholars, writers, artists, activists, and everyday people began variously using black heart to express pride in and love of their black identity and experience, reclaiming the long, historical racism against blackness. On social media, they may use the black heart emoji, released in 2016, for emphasis.
Much of my thinking about black and darkness during the run was from the perspective of understanding black and dark as good, or not the bad/evil to white’s/light’s good. When I stopped to walk 2.5 miles in, I recorded some of my thoughts:
Thinking about black and dark and how important that (dark) is to poets and to mystery. There’s a difference between pure black that absorbs everything and a dark gray so I’m kind of conflating those, but it’s the idea of dark as essential and how light can be too bright. The idea of certainty, where you can see everything in its sharp lines and finally know it, is a conclusion, an ending to the mystery. To life. So, that’s not to say that light and certainty aren’t important but they are not the good to dark’s bad.
I think these ideas made more sense in my head. I should say that much of my thinking about black and dark was particularly inspired by a quote I encountered yesterday about hope being a language that dark voices cannot understand — it was the title of a student’s musical composition at FWA’s concert. When I first heard the quote, I was bothered by the idea of dark voices, which could (and has — I’ve taken entire grad classes on it) be connected to actual dark voices, that is, the voices of Black people, so it literally means we don’t need the dark voices of Black people. I also thought about how light gets connected with seeing, which then becomes the dominant way to access truth. So, if you can’t see well — you’re blind, or going blind like me — it’s understood that there’s something wrong with you.
note: I feel like I have too much to say about all of this, which is causing me to struggle to say anything coherent. Maybe I’m not ready to express it yet?
Anyway, all of that was happening in my head as I ran. None if it stayed too long, only flaring then flying away. One of the last thoughts I remember having was, dark voices absolutely understand the language of hope and they are my primary resources for finding and holding onto it! This thought is true for me literally and figuratively. In both my master’s thesis and dissertation, I studied the deeply rich and messy and complicated tragic hope of critical race theorists (especially Cornell West) and black feminists and womanists (Audre Lorde, Patricia Hill Collins, Alice Walker). And now, ever since 2016, I’ve been looking to poetry and poets, for their safeguarding of bewilderment and mystery and their understandings of hope that come from a sharing of joy that is both grief and delight.
after the run
At the end of the run, and now almost 2 hours after it, I’ve arrived here, thinking that not only is the belief that darkness is bad or that there’s no room for dark voices in the light of hope is problematic, it is ridiculous. How can you have hope without grappling with the dark thoughts of mystery, uncertainty, unknowingness? And how can you have a hope that’s strong enough to help us build better futures for everyone if dark voices aren’t at the center of it?
Wow, this topic really got me going! In the past, I might have taken all of this out, but I’ll keep it for future Sara.
One more random note about black. Ruefle’s idea of black sadness as the hold from which no words can spring, no soul can escape,” reminded me of a favorite line from Rainer Maria Rilke’s “Black Cat“:
A ghost, though invisible, still is like a place your sight can knock on, echoing; but here within this thick black pelt, your strongest gaze will be absorbed and utterly disappear:
45 minutes with Delia the dog neighborhood + 7 Oaks 78 degrees
Took a walk in the afternoon with Delia the dog through the neighborhood, almost to the river trail, then to 7 Oaks. Felt like summer. RJP told me the other day that the buoys are up at the lake. Next week — maybe on Tuesday? — I’ll test out the water!
10 Things I Noticed
a black capped chickadee
the neighbor on the next block who almost always sits on his front steps smoking was sitting on his front steps smoking
someone at cooper field was dribbling a soccer ball then shooting it into a net set up in the batting area — not sure how old he was, but his bike looked like it was for someone around 12
someone “mocking” in a blue hammock in the grassy area between edmund and the river road. When I walked by, I could hear soft music — not sure what it was
angled solar panels on the roof of a tall and big house — maybe a duplex?
a recently dug up dirt patch in one corner of an otherwise pristine yard — I wondered how upset the woman/gardener who lives there is about this blemish
crossing the street, taking a few steps through someone’s grass to reach the sideway — wow, such thick, soft grass. What did they have to do to have such lush grass?
Delia decided to poop on the edge of another yard in the thickest part of the grass. From a distance, this grass looked like it might be soft too. Nope. Spiky, stiff, sharp
lots of little wrens or sparrows — not sure I can tell the difference
no birdsong coming from the sink hole at 7 Oaks — all the birds were in neighborhood trees
Mary Ruefle and Yellow Sadness
Yellow sadness is the surprise sadness. It is the sadness of naps and eggs, swan’s down, sachet powder and moist tow- elettes. It is the citrus of sadness, and all things round and whole and dying like the sun possess this sadness, which is the sadness of the first place; it is the sadness of explo- sion and expansion, a blast furnace in Duluth that rises over the night skyline to fall reflected in the waters of Lake Superior, it is a superior joy and a superior sadness, that of revolving doors and turnstiles, it is the confusing sadness of the never-ending and the evanescent, it is the sadness of the jester in every pack of cards, the sadness of a poet pointing to a flower and saying what is that when what that it is a violet; yellow sadness is the ceiling fresco painted by Andrea Mantegna in the Castello di San Gio- gio in Mantove, Italy, in the fifteenth century, wherein we look up to see we’re being looked down upon, looked down upon in laughter and mirth, it is the sadness of that.
The citrus of sadness. I like that. I can also see yellow as the sadness of naps or of expansion and explosion. In “Uses of the Erotic: the Erotic as Power,” Audre Lorde writes about yellow:
During World War II, we bought sealed plastic packets of white, uncolored margarine, with a tiny, intense pellet of yellow coloring perched like a topaz just inside the clear skin of the bag. We would leave the margarine out for a while to soften, and then we would pinch the little pellet to break it inside the bag releasing the rich yellowness into the soft pale mass of margarine. Then taking it carefully between our fingers, we would knead it gently back and forth, over and over, until the color had spread throughout the whole pound bag of margarine, thoroughly coloring it. I find the erotc such a kernel within myself. When released from its intense and constrained pellet, it flows through and colors my life with a kind of energy that heightens and sensitizes and strengthens all my experiences.
“Uses of the Erotic: The Erotic as Power” / Audre Lorde
I remember reading this essay in grad school and liking it this image of the spreading joy that colors everything. Energy, intensity, strength. A warm yellow.
As I walked I looked for yellow — a very bright yellow shirt on a biker, dandelions dotting the grass at 7 oaks. I thought about the sun as leaving smears of yellow and yellow as piercing the eye. I also thought about the strange level at the Guthrie Theater where everything looks yellow. And now, writing this, I’m remembering how I discovered some research about Van Gogh and yellow. He only say yellow, or something like that. An image of mustard came into my head — ballpark mustard, not grainy or spicy mustard. Not sure why not spicy mustard — I like its color and taste much more than “regular” mustard.
Breezy and sunny. Felt a little tired during the run; maybe I should have had a snack right before I left? Encountered an adult and a cute little kid on the trail, then another cute kid sitting on the rock that looks like a chair. She called out hello! I waved back. I remember looking at the river but not what it looked like. I remember hearing voices below me, seeing lots of leaning trees, feeling the uneven path below my feet.
Mary Ruefle and Orange Sadness
Orange sadness is the sadness of anxiety and worry, it is the sadness of an orange balloon drifting over snow- capped mountains, the sadness of wild goats, the sadness of counting, as when one worries that another shipment of thoughts is about to enter the house, that a soufflé or Cessna will fall on the one day set aside to be unsad, it is the orange haze of a fox in the distance, it speaks the strange antlered language of phantoms and dead batter- ies, it is the sadness of all things left overnight in the oven and forgotten in the morning, and as such orange sadness becomes lost among us altogether, like its motive.
before the run
Today I’d like to think (even) more about orange. What is orange to me? What sounds orange? Tastes orange? Feels orange? Smells orange?
during the run
I tried to think about orange, testing out whether I thought something I encountered felt orange or not. Would I call those loud voices below me orange voices? No. Ran down the hill to the south entrance of the winchell trail and smelled the vaguest whiff of the past — the sweet, fresh smell at my family’s farm in the UP. Is that an orange smell? Nope. I’d call it a red smell because when I think of the farm, I think of the bright red of the farmhouse. I noticed lots of little orange things on the ground — orange leaves, a piece of orange string, an orange flash. As I neared the gravel hill at the ravine, I started thinking about orange theory and its main principle of working out in the orange heart rate/effort zone for at least 12 minutes of a 60 minute workout. Running up the gravel on my toes, I thought about orange breaths and orange effort and decided that when I got home, I looked up the orange theory and think more about it.
after the run
Here’s how Orange Theory defines the different zones:
Gray Zone (50-60% Maximum Heart Rate) – This is the least strenuous, most comfortable zone, consisting of very light activity.
Blue Zone (61-70% Maximum Heart Rate) – This zone is specifically geared for warm-up and cool-down exercises. You are preparing your body and mind for high-intensity interval training, but you haven’t unleashed the burn just yet.
Green Zone (71-83% Maximum Heart Rate) – In this zone, you have reached a challenging but doable pace. This is what Orangetheory categorizes as “Base Pace,” a pace you can maintain for 20-30 total minutes. Your body starts to burn fat and carbohydrates evenly.
Orange Zone (84-91% Maximum Heart Rate) – This is where the magic happens and where you achieve “EPOC” (Excess Post-Exercise Oxygen Consumption) – what we call the “Orange Effect / Afterburn.” The goal is to accumulate 12 minutes or more in this zone within a 60-minute period to achieve the maximum caloric burn for up to 36 hours AFTER your workout is completed.
Red Zone (92-100% Maximum Heart Rate) – This zone happens organically and may be achieved during ‘All Out’ efforts when you’re emptying the tank and using every ounce of energy left in your body. You don’t need to set an All Out pace for more than 1 minute at a time to experience maximum results.
I haven’t really worked with heart rate zones when I run, partly because I can’t seem to not stay in the upper range on all of my runs no matter how slow I go, but it seems fun to me to think about orange in terms of effort and heart rate and how that could apply to things outside of (or alongside?) fitness. The orange zone involves a hard effort, where you are doing things that elevate your heart rate a lot, but it’s not all out, not something that makes your heart almost jump out of your chest or pound uncontrollably. That’s red, and a red (all out effort) breath might involve being shocked, experiencing such intense awe or surprise that you lose your breath for a minute. Orange breaths involve intense feeling that can be sustained longer, but are still uncomfortable. Orange breaths are anxious breaths. This morning, as I waited to leave for a doctor appointment, I was breathing with orange breaths and orange lungs — wound up, nervous, not totally sure why. Every time, before an open swim, I breathe orange breaths — nervous about whether or not I will be able to see how to swim across, excited about getting to swim in the lake.
For today’s run, I decided to go past the falls to Longfellow Gardens. Since I was reading Mary Ruefle’s prose poem about purple sadness, my plan was to visit my favorite purple flowers. When I reached the gardens I discovered that they haven’t been planted yet. Thanks strange spring with your late snow storms and unending cold weather in April!
Another one of those wonderful spring days with sunshine and birdsong. A week ago I would have added “no bugs,” but they’ve arrived. All this week, mosquitoes have been feasting on my elbows, under my knees, my wrist. Today a gnat died on the side of my nose. I could see it through my peripheral vision. Another flew into my eye. Yuck!
My right big toe hurt again for a few minutes, then it was fine.
Heard the wind, water gushing out of the sewer pipes, the falls roaring, kids laughing at the playground, one little kid in a stroller that was over everything, a giant mower or weed whacker or some other noisy machine near the Longfellow House.
Smelled cigarette smoke as I passed a guy on the trail. Was he smoking or was it just his clothes?
surfaces: tightly packed dirt, half buried tree roots, grass, hay, asphalt, concrete, road, street, sidewalk, brick, dead leaves, crumbling asphalt — some mostly asphalt, some with big chunks of asphalt mixed with leaves and dirt, some rubble, limestone steps
Mary Ruefle, Immortal Cupboards, Windows, Offerings, and a Purple Wood
Today I’m reading Ruefle’s lecture, “My Emily Dickinson” and her purple sadness poem.
immortal cupboards
J. D. Salinger once remarked, “A writer, when he’s asked to discuss his craft, ought to get up and call out in a loud voice just the names of the writers he loves…”
“My Emily Dickinson” / Mary Ruefle, page 150
That lovely little book. I’ve had nothing affect me quite so much since I discovered haiku. But then you come from Japan! You now inhabit a corner of my immortal cupboard with LZ (especially the short poems), Emily Dickinson, Thoreau, Lucretius, Marcus Aurelius, John Muir, bits from Santayana, D.H. Lawrence, Dahlberg, William Carlos Williams, and haiku. These knew “when / to listen / what falls / glistens now / in the ear.”
Emily Dickinson is also in my immortal cupboard, along with Mary Oliver, Lorine Niedecker, Marie Howe, possibly Alice Oswald, definitely Rita Dove.
windows
Emily Dickinson often looked out of her bedroom window, and many of her poems, if not her worldview, seem framed by this fact; so much has been made of this there is little I can add; to argue whether a window is the emblem of complete objectivity (removal and distance) or complete subjectivity (framing and viewpoint) is an argument without end, for every window has two sides, and they are subsumed in the window, the way yearning, a subsidiary of the window, is subsumed in both the object yearned for, and the subject of its own activity.
“My Emily Dickinson”/ Mary Ruefle, page 151
offerings
But she has a common grave, and I like to go there and leave things, and when I did, I see that many other people have done the same.
“My Emily Dickinson” / Mary Ruefle, page 182
list of offerings left (real or imagined) throughout Ruefle’s lecture:
a stone, a penny, a small bronze alien
two plastic champagne glasses, pink and purple larkspur, an ear
a lemon, a dime, a diamond ring, a parachute
a white rose, a fortune-telling passionate fish, ice cream for astronauts
a sheaf of flowers from the florist with a thank-you note attached, a plastic fly, a nickel, an egg
A stick of gum wrapped in foil. A shard of glass.
a plastic watch, a feather, some Kleenex
Nothing.
lilacs, a spool of thread, a book of matches, a mood ring
an envelope, addressed but otherwise empty, a piece of gum in silver paper, a packet of nasturtium seeds, and a button
a thimble, an acorn, a quarter, and many, many daffodils
yellow snapdragons. A robin made of tin. A child’s block with the letter E. A pen. A pinecone. A tiny hat. An Austrailian coin.
a paratrooper, a cork
s piece of coal, a candle stub, a chrysanthemum
a small gargoyle, a rubber heart, an old key, a guitar pick a sequin, a sprig of heather, and a piece of hair
A doorknob.
a purple wood
A lane of yellow led the eye Unto a Purple Wood Whose soft inhabitants to be Surpasses solitude (Emily Dickinson)
from My Private Property/ Mary Ruefle
Purple sadness is the sadness of classical music and eggplant, the stroke of midnight, human organs, ports cut off for a part of every year, words with too many meanings, incense, insomnia, and the crescent moon. It is the sadness of play money, and icebergs seen from a canoe. It is possible to dance to purple sadness, though slowly, as slowly as it takes to dig a pit to hold a sleeping giant. Purple sadness is pervasive, and goes deeper into the interior than the world’s greatest nickel deposits, or any other sadness on earth. It is the sadness of depositories, and heels echoing down a long corridor, it it the sound of your mother closing the door at night, leaving you alone.
Just discovered how the ends of her lines create another poem:
Stroke words it is possible to dig a pit deeper into sadness a long leaving
The last words, leaving you alone, reminds me of Ruefle’s discussion of Emily Bronté, and Emily Dickinson in My Emily Dickinson:
Emily Dickinson never lived alone for a single day in her life. Emily Bronté never lived alone for a single day in her life.
before the run
Today on my run, I want to think about purple, and I plan to run the 2+ miles it takes to get to longfellow gardens where some of my favorite purple flowers dwell (or have dwelled in past springs). What are these flowers called? I have no idea.
other purples to think about: heels echoing, doors creaking closed, deep pits.
during the run
No flowers. well, I did find some flowers that were white, but looked like they could be or would be or should be turning purple. Also, a reddish-purple plant. I took some pictures:
tiny purple flowers (if you really believe)a reddish, purplish plant
I can’t really see any purple in these, or much of anything, but maybe you can?
Other purple things I remember encountering: the gentle, queer curve of a branch towering over the trail — as I ran under it I thought, that’s very purple. Then the face of a child in the midst of bellowing frustration — I didn’t see their face, but I imagined it could be a deep purple. Purple whispers in the trees.
No purple cars or shirts or shoes or bikes or signs or birds or left behind objects in the grass. Mostly just green and blue.
after the run
Apparently the leaving of strange offerings at Emily Dickinson’s grave is a thing. In her play on Susan Howe’s My Emily Dickinson and Ruefle’s My Emily Dickinson, Meg Shevenock writes, in My My Emily Dickinson:
Then, there’s this: after visiting Emily’s house, my friends and I made a small parade to visit her grave, and the objects I knew would be there, were there. Best of all, a white plastic pen with white cap from a hotel. Or best of all, a blue pencil cracked and dried, that had weathered so much snow. We all want her to say more, write more, about who she was; or, we want to say, I get it, I’m a writer too, and we also know it’s impossible, so we leave an object from the world, from a day long beyond her breathing, to get as close to touching as stone.
Another beautiful morning. Sun, birds, clear paths. The big toe on my right foot hurt for the first 5 minutes. Not sure what’s wrong with it, but it started hurting a few weeks ago. A similar thing happened when I was breaking in a new pair of running shoes 2 years ago. Is it because of the new running shoes I started wearing last month? The pain went away by the time I reached lake street and didn’t return.
Ran to franklin then down the hill to annie young meadows. Turned around and took the steps down to the path right next to the retaining wall and the river. The path was covered in soft sand because of the recent flood. Ran to the bottom of the franklin hill, then walked about 1/2 of it. Put in Taylor Swift’s Midnights for the rest of the run.
I encountered 2 roller skiers and one rollerblader! Don’t think I heard any clicking or clacking of ski poles. No rowers. A few bikers, at least one fat tire.
Mary Ruefle and Blue Sadness
before the run
from My Private Property/ Mary Ruefle
Blue sadness is sweetness cut into strips with scissors and then into little pieces by a knife, it is the sadness of reverie and nostalgia: it may be, for example, the memory of a happiness that is now only a memory, it has receded into a niche that cannot be dusted for it is beyond your reach; distinct and dusty, blue sadness lies in your inability to dust it, it is as unreachable as the sky, it is a fact reflecting the sadness of all facts. Blue sadness is that which you wish to forget, but cannot, as when on a bus one suddenly pictures with absolute clarity a ball of dust in a closet, such an odd, unshareable thought that one blushes, a deep rose spreading over the blue fact of sadness, creating a situation that can only be compared to a temple, which exists, but to visit in one would have to travel two thousand miles on snowshoes and by dogsled, five hundred by horseback and another five hundred by boat, with a thousand by rail.
during the run
I wanted to think about blue as I ran. At first flash, lots of things looked blue — cars, t-shirts, the trail. Most of them turned gray or black or anything but blue when I looked at them for longer. It’s funny how when I’m thinking about a color, that’s what my brain sees everywhere. I did see a few blue t-shirts, a bright blue bike parked by the trestle, blue signs, blue sky.
The sky was a pale blue, which made me think of the Ted Kooser line from his poem, “Turkey Vultures” — it is as if they were smoothing one of those tissue paper sewing patterns over the pale blue fabric of the air. I wondered why the sky was a pale blue and not a bright blue and whether it was my vision or something about how the light was (or wasn’t?) scattering.
At one point, I heard a creak somewhere and thought: a blue creak. I think that was the only blue sound I recall hearing.
after the run
Re-reading Ruefle’s blue sadness, I’m thinking about how blue light comes in short, choppy waves that scatter more than red or green waves and how Ruefle’s understanding of blue seems to invoke that: strips and pieces of sweetness, memory — nostalgia, reverie, dust, a temple, scattered and out of reach on a shelf, in a far off land.
I don’t think about blue that often and it doesn’t conjure up powerful images for me. My eyes rarely see blue lights on signs. I suppose I think of water, but the water I see/swim in is rarely blue. Perhaps my favorite blues are: the blue hour early on a winter morning, snow looking blue, cerulean, frozen blueberries (not fresh)
The first outdoor bike of the year! I’m always anxious, not knowing how much I’ll be able to see on my earliest bike rides of the season, but today was fine. Hooray! Not scared at all, nothing popping up unexpectedly. okay, maybe once when I was focusing on a bike that was approaching from far off, I didn’t notice another bike that was much closer to me. I was more concerned with my tires, which NEED to be replaced; they’ve been leaking air for a few years now. They were fine too. Several times during the bike ride I had a big smile on my face as I thought, I can still bike! then, I get to bike to the lake and swim across it all summer!
10 Things I Noticed
the wind was rushing in and past my ears as I biked south
several bikers on fat tires — I wondered why. Do they know something about the road conditions that I don’t?
the port-a-potties at the falls for the race this past weekend were still there, so were the detour signs
the duck bridge is temporarily gone — it’s being repaired until ? As I biked by, I noticed a chainlink fence and an asphalt trail abruptly ending where the bridge should be — now that’s an image for one of my nightmares!
squeak squeak squeak On your left — some squeaking bikes approaching from behind, then passing me just past the duck bridge
the lake — open water, but not empty water — some people already swimming
the safety boat — a silvery white beacon across the lake
the surreys (Scott’s nemesis) were lining the trail, ready to torment him
an older guy, sitting in a lawn chair at the beach, telling someone a story about how his baseball card collection isn’t worth anything — he said, you might as well throw it all away. — even this card? it should be worth something?! Nope
an even older guy stopping a woman in a bikini walking by and talking at (not to) her about how there aren’t any lifeguards. Couldn’t quite tell what he was saying, but I assume he meant, but there should be! If he had asked me, I would have said — the season doesn’t start until next weekend and who will you be able to hire this early in the year?
Mowed the front yard, raked some fallen branches, pulled the irritating garlic mustard that erupts every spring. Least favorite thing about it: it always comes back. Most favorite thing about it: it’s satisfyingly easy to pull; it just pops right out! Listened to an audiobook — the 2nd in a murder mystery series where Agatha Christie’s bff and head housekeeper solves murders. This one’s called, A Trace Poison.
I like mowing the lawn with our reel mower. (I didn’t know that it was called a reel mower. Last summer, when I asked the guy working at the store for help I thought he said real mower, and then I thought, as my daughter would say, he gets it. Yes, the only kind of mower to get is a hand-powered one and not a loud, huge monster mower. But no, he just meant a mower with a reel, a reel mower.) Anyway, it’s fun to be outside, and it’s a chance to move while I listen to my book. Unfortunately, as my vision gets worse (and our yard does too), it’s harder to see where I’ve mowed and where I’ve missed. My aesthetic has always been “almost-chic” or that’s good enough, so I don’t mind, but I think Scott might. So this summer, FWA will have to mow, and I’ll stick to pulling weeds.
Mary Ruefle and not knowing or knowing nothing
Today I finally arrived at the part in Madness, Rack, and Honey in which Mary Ruefle uses one of my favorite quotes of hers, a quote that was an inspiration for my “Bewildered” poem:
The difference between myself and a student is that I am better at not knowing what I am doing.
“Short Lecture on Socrates,” page 250
I am almost positive I did read this exact passage when I checked out this book from the library, but maybe I didn’t? Anyway, reading Ruefle’s book was much later after I had already encountered the quote and fallen in love with the idea of being better at not knowing. I first read it in an article about bewilderment, Less Than Certain. I had no idea (or no memory of it, at least) that the quote is in a lecture about Socrates and the unknowingness/not knowing/knowing nothing as the foundation of Western civilization. Wow. I forgot to take my own advice to always think about the larger context of a quote that I want to use!
Reading this small lecture, recognizing that we know nothing seems to be about humility. Recognizing the limits of what you do or can know. Not believing you can know everything. In another article on this topic that mentions Ruefle’s quote, Jack Underwood echoes this:
What interests me about poetry is that rather than looking up for answers, it tends to lead us back indoors, to the mirror, as if seeing ourselves reflected within its frame, confused, gawping, empty-eyed, and scalded by circumstance, might re-teach us the lesson: that meaning presents itself precisely as a question — therefore, you can’t entertain it by seeking to answer it. Imagine! The old, old universe, arranging itself legibly into a puzzle that our small brains might be qualified to solve with the knowledge we can accrue from our small corner of its tablecloth. Solving the mysteries of the universe: isn’t that just the most arrogant, preposterous thing you ever heard? The idea of there being some sort of Answer to Everything is an admirable feat of imagination but also displays a woeful lack of it.
Even as I appreciate the importance of humility, I like thinking about this not knowing or knowing nothing in other ways.
Not knowing as an action. To actively not know something. This could mean unlearning it, to be engaged in the act of not knowing it or divesting (disinvesting?) from it. Or it could mean willful ignorance — a refusal to know some fact, someone. I choose to not know! It could be Mary Ruefle’s wonder from “On Secrets” — I would rather wonder than know. Or it could my moment or many moments of refusing to conceal my not knowing to others, to admit/embrace/accept that I can’t see that bird, right over there, that you are pointing out to me.
Knowing nothing as knowing the thing, or things, that is/are nothing, where nothing is a space where time is stopped or where productivity doesn’t happen (Ross Gay). Or where nothing is the Void, the absence, the blank space around which we orbit, trying to find meaning or possibility or connection. Or where nothing is Marie Howe’s singularity:
No I, no We, no one. No was No verb no noun only a tiny tiny dot brimming with
Since it was a late Sunday morning on a beautiful day, I decided to avoid the river road path. I ran on Edmund and the grassy boulevard instead. My left hip and knee felt a little sore, and the run didn’t always feel easy, but it was still great to be outside moving. The thing I remember most was the birds at the beginning. So many chirps and tweets and trills. Much louder near my house than by the river.
Greeted Dave, the Daily Walker. Encountered a lot of bikers, runners, a big group of walkers in matching black shirts, 3 kids playing basketball out in the street.
Overheard a conversation and intended to remember what one of the woman said, but I forgot within a few minutes.
Tried to run in the shade, avoid the warm sun. Felt overdressed in shorts and short-sleeved shirt. Next time: tank top.
Looked for turkeys in turkey hollow. Didn’t see even one. Looked at the window of the poem house. Still the same poem from last December.
At the end of the run, as I was walking home, I pulled out my phone, planning to practice reciting the poem I re-memorized the morning — “Writing a Poem”– into it, but there were several people nearby and I felt self-conscious. I was inspired to re-memorize this poem because of the loud weed whacker that was buzzing in my brain late yesterday morning while I was trying to read Mary Ruefle. So loud! It’s dzzzzzzzzzz (not the dizz dizz dizz of the poem) taking over everything.
This morning, during my usual routine or reading poems.org, I discovered this wonderful interview with the poet, Sarah Audsley. There are many things in this interview I’d like to revisit, but especially this:
FWR: You’re also a self-described rural poet. How would you say place and/or the pastoral influence your writing?
Sarah Audsley: “The rural poet” seems like it is in contention with “the city poet.” For me, maybe it is! Because, for me, place and my connection to place is essential. I enjoy visiting cities and being an interloper in city life, but I will always choose to live in a rural place. Walking my dog three times a day, cross country skiing in the winter, and hiking in the mountains in the summer, offsets all the daily computer grind. I like to think, too, that it feeds the work. To put it in another way, I’m a better poet if I’ve spent some time outside noticing and moving in the woods. The natural world offers me a sense of belonging. So, of course, this will appear in the poems. As for the pastoral poetry tradition, two poets and influences come to mind: Vievee Francis and the “anti-pastoral” poems in Forest Primeval, and Jennifer Chang’s Bread Loaf Lecture, “Other Pastorals: Writing Race and Place” (June 2019, available here.)
Mary Ruefle, “On Secrets”
Secret #7
Every word carries a secret inside itself; it’s called etymology.
It is the DNA of a word. To crack or press a word is to use its etymology to reveal its secrets, all still embedded in the direct action of ancient and original metaphor.
page 91
The psychic energy required and used in writing a poem is also a secret. Where did it come from? How did it get here and where is it going?
These are the questions we ask ourselves when we write, and these are the questions an astronomer asks of the stars.
Consider the word consider, which originally meant “to observe the stars.”
Consideration leads to comprehension, which originally meant “to grasp, to seize something with the hands and hold it tight in the arms”: what the mother does with the child. To hold, to put one’s arms around.
As Jung once wittily noted: “When the neurotic complains that the world does not understand him, he is telling us in a word that he want his mother.”
And who among us is not neurotic, and has never complained that they are not understood? Why did you come here, to this place, if not in the hope of being understood, of being in some small way comprehended by your peers, and embraced by them in a fellowship of shared secrets?
I don’t know about you, but I just want to be held.
To say that consideration leads to comprehension is to say that observation leads to action. The tasks of the outside world must be observed and then embraced privately, just as the astronomer looks through his telescope, considers the stars, and embraces the universe in the closed space of his mind.
Enter the cold dark matter.
Enter the anti-secret of every word. There is no comprehension. Our comprehension is limited. Language can only hold for a moment before the embrace disintegrates.
pages 92-94
The two sides of a secret are repression and expression, just as the two sides of poem are the told and the untold. We must be careful not to take the word as the meaning itself; words no not “capture” a moment as much as they “communicate” it—they are a bridge that, paradoxically, breaks isolation and loneliness without eradicating it. It is the first experience you ever had of reading a decent poem: “Ph, somebody else is lonely, too!”
Secret #9
In the end I would rather wonder than know.
* Because I would rather wonder than know, my interests and talents lie in the arts rather than the sciences, although, like the monk who discovered champagne–an accidental event that unexpectedly happened to his wine–I have on occasion come running with open arms toward another with the news, “Look! I am drinking the stars!”
page 101
I would rather wonder than know. Yes!
a few hours later: Scrolling through instagram I found a poem by Laura Gilpin:
The things I know: how the living go on living and how the dead go on living with them So that in a forest even a dead tree casts a shadow and the leaves fall one by one and the branches break in the wind and the bark peels off slowly and the trunk cracks and the rain seeps in through the cracks and the trunk falls to the ground and the moss covers it
and in the spring the rabbits find it and build their nest inside and their young will live safely and have their young inside the dead tree So that nothing is wasted in nature or in love.
I like this poem; I also like the title of the book it’s from — The Hocus-Pocus of the Universe — which made me remember a line from Ruefle’s lecture on secrets:
the sacred word is a secret and cannot be spoken without consequence, be it blessing or curse. There is simply too much power in certain words, and the unnerving force of naming casts a great spell over language and, in one very important sense, created poetry, since to invoke sacred powers, bypass words were employed, incantations without any meaning at all, such as abracadabra, words that of course became imbued with as much power as what they were trying to invoke. And then, as often happens, it worked in reverse, so that very sacred words or phrases bypassed themselves, through a living version of the parlor game Password, where a word is passed or repeated from ear to ear until it changes into gibberish. To my mind, the most paralyzing example of this process is one origin theory of the term hocus-pocus, that it was once hoc est corpus — This is my body ….”
Warmer today. The river was glittering as I ran above it, over the lake street bridge. Ended up at the St. Thomas Campus just after graduation was ending. Oops. Crowded sidewalks, a huge group of people waiting behind me at the stop light. A few near misses with people taking over the sidewalk.
I almost forgot — at the very beginning of my run, one block from my house, I heard someone playing Take Five on their saxophone inside somewhere. Then I saw someone working in their front yard and I thought — it’s nice to be outside in the city in the midst of other people doing their Saturday late morning things.
Anything else? no smells or things tasted that I recall. the feel of soft sandy grit on the edge of the bridge sidewalk, softer and deeper than on other parts of the trail. different voices after graduation, talking about parties and parking and — ? saw the shadow of a bird pass over my head.
Mary Ruefle, “Introduction” to Madness, Rack, and Honey
allegiance to poetry
my allegiance to poetry, to art, is greater than my allegiance to knowledge and intelligence, and that stance is harder and harder to maintain in today’s world, because knowledge and intelligence form the corporate umbrella (the academy) that shelters and protects poetry in a culture that cares about other things.
a definition of poetry
I do not think I really have anything to say about poetry other than remarking that it is a wandering little drift of unidentified sound, and trying to say more reminds me of following the sound of a thrush into the woods on a summer’s eve–if you persist in following the thrush it will only recede deeper and deeper into the woods; you will never actually see the thrush (the hermit thrush is especially shy), but I suppose listening is a kind of knowledge, or as close as one can come, “Fret not after knowledge, I have none,” is what the trhursh says. Perhaps we can use our knowledge to preserve a bit of space where his lack of knowledge can survive.
I love this idea of preserving space for things outside of knowledge or what is considered intelligible by those in power. I remember now running across the lake street bridge and thinking about the value of space and room to breathe and be in as many ways as possible.
Wore my orange sweatshirt today. Partly cloudy, cooler, some wind. My legs felt like logs until I warmed up, about a mile into the run. Listened to some blue jays screeching, kids laughing, old guys talking. Forgot to look at the river or listen for the falls. Avoided a BIG school group above the falls — 4 or 5 full-sized school buses in the parking lot. Didn’t stop to walk up the small hill at the veterans’ home. Kept running until I reached 4 miles then walked while I put in my headphones. I listened to Lizzo for the last minutes of the run — Hi motherfuckers, did you miss me? I’ve been home since 2020. I’ve been twerkin’ and making smoothies. It’s called healing and I feel better. I love Lizzo.
Mary Ruefle and the madness of wasting time
continuing my discussion of her lecture, “Madness, Rack, and Honey.”
before the run
A few of the poets/writers Ruefle cites talk about nothing — the Great Nothing (Tess Gallagher), doing nothing (Gertrude Stein). I’m thinking about Auden and Ross Gay and the idea of making nothing happen, which I recently wrote about on march 29, 2023.
during the run
Every so often during the run, I thought about nothing and being useless — at least if usefulness is measured by capitalism and its values. At one point I thought about my running and writing practice — how much time I’ve put into it, or how much time I’ve wasted on it. Here I’m thinking about wasting time as something a poet (or someone who writes poetry) needs, desires.
after the run
I’m revising a few of my mood ring poems in order to submit all of them for a chapbook contest, so I don’t ave a lot of time to spend on reading Ruefle. For now, here’s a little bit on madness:
madness
The madness of poetry is that it creates sweetness, so that the flies might come and eat till it is gone. “To endlessly make an end of things,” says Paul Celan in a poem, and that’s it, inexplicably and exactly. ”
*
If the flies keep feasting, the honey will be gone. Then the flies will go away. And there will be nothing sweet. The poet has to either begin again–poor Creature!–or write a poem that goes on forever, and what a torment that would be! Even the long poem ends.
