Too hot this morning! My usual refrain: get up and go out earlier! Lots of shadows, birds — several turkeys in the neighborhood just past turkey hollow! None of them menacing today. I decided to put together another shadow playlist with all my favorites. Called it “Slappin’ Shadows.” I listened to it for the whole run instead of the birds.
I remember these lyrics from “Moonshadow” especially:
Did it take long to find me? I asked the faithful light Oh, did it take long to find me? And are you gonna stay the night?
I’m bein’ followed by a moonshadow Moonshadow, moonshadow
10 Surfaces I Ran Over
sidewalk
street — smooth
street — cracked, rutted
grass
roots
soft, sandy, slippery dirt
soft dirt that was mud 2 day s ago
curb
paved trail
edge of road, slanted, over a grate
Last week, I checked out Dorianne Laux’s new collection, Life on Earth. I especially love this poem:
—for Tony Hoagland who sent me a handmade chapbook made from old postcards called OMIGOD POETRY with a whale breaching off the coast of New Jersey and seven of his favorite poems by various authors typed up, taped on, and tied together with a broken shoelace.
Reading a good one makes me love the one who wrote it, as well as the animal or element or planet or person the poet wrote the poem for. I end up like I always do, flat on my back like a drunk in the grass, loving the world. Like right now, I’m reading a poem called “Summer” by John Ashbery whose poems I never much cared for, and suddenly, in the dead of winter, “There is that sound like the wind/Forgetting in the branches that means something/Nobody can translate…” I fall in love with that line, can actually hear it (not the line but the wind) and it’s summer again and I forget I don’t like John Ashbery poems. So I light a cigarette and read another by Zbigniew Herbert, a poet I’ve always admired but haven’t read enough of, called “To Marcus Aurelius” that begins “Good night Marcus put out the light/and shut the book For overhead/is raised a gold alarm of stars…” First of all I suddenly love anyone with the name Zbigniew. Second of all I love anyone who speaks in all sincerity to the dead and by doing so brings that personage back to life, plunging a hand through the past to flip off the light. The astral physics of it just floors me. Third of all is that “gold alarm of stars…” By now I’m a goner, and even though I have to get up tomorrow at 6 am I forge ahead and read “God’s Justice” by Anne Carson, another whose poems I’m not overly fond of but don’t actively disdain. I keep reading one line over and over, hovering above it like a bird on a wire spying on the dragonfly with “turquoise dots all down its back like Lauren Bacall”. Like Lauren Bacall!! Well hell, I could do this all night. I could be in love like this for the rest of my life, with everything in the expanding universe and whatever else might be beyond it that we can’t grind a lens big enough to see. I light up another smoke, maybe the one that will kill me, and go outside to listen to the moon scalding the iced trees. What, I ask you, will become of me?
Shorts, tank top, sun! Only one rower on the river. Under the bridge the water was sparkling — was it because of the sandbar? There was some sort of informal running event — no signs, but a stream of people, adults and kids, running and people on the edge of the trail cheering.
I ran on the soft dirt trail beside the pave path a lot. Gritty and fun to slide on — not slide as in slip but as in glide.
Encountered other runners, walkers, one rollerblader who kindly said, on your left, as he passed me. I could hear the metallic clunking of his wheels before and after he passed.
Birds, of course. The run began with the haunting coo of a mourning dove. I don’t hear mourning doves that often. I didn’t know, or if I did I forgot, that they are also called turtle doves. Also heard some black-capped chickadees. At the end of the run as I walked back home through the neighborhood, I heard a little kid call out, bird!, and the adult with him say, sparrow.
Lots of shadows: tree trunks, leaves, fence railings, birds, me, beside rocks, under benches. My favorite shadow was mine — running close to the railing, overlooking the gorge and the river on the east bank, my shadow was way down in the trees, near the water. I kept moving closer to the railing, trying to get my shadow in the water. I never got close enough for her to swim.
Another memorable shadow: the sidewalk was almost all gray shade, with just a little light, where the leaves hadn’t filled in it. I imagined doing an erasure poem that mimicked this form. Most of the text shaded out with just a few words sprinkled around — dappled? I want to try it! Speaking of dappled, the other day I was describing all of the shadows in my plague notebook (vol 20!). I noticed the speckled light under the crabapple tree and wrote: crabapple dapple. Told Scott about it and he responded, ugh!
Almost 4 miles in, on the ford bridge, I stopped to put in my “I’m Shadowing You” playlist. Put it on shuffle: “The Shadow Knows,” “I’m Beginning to See the Light,” “We Will Become Silhouettes,” and then a song I haven’t heard yet while running: “Shadows and Light”/ Joni Mitchell. I’ll have to think about her lyrics some more.
Here’s a poem that mentions shadow, and is about questions! Last year, I listened to a wonderful podcast with Alabi: Kemi Alabi vs. Divinity. It’s not available right now; is it because the hosts are protesting Poetry Foundation’s refusal to make a statement against the genocide in Palestine? (added, 15 jan 2025: the episode is back online).
Overcast, then sun, then overcast again. This cycle happened throughout the run. Enough sun to admire the soft shadows — leaves stirring in the wind, tree trunks, fence slats, me. Went out earlier today and noticed more cars on the river road. No kids on the playground yet. No big turkeys. Greeted Mr. Morning! and smiled at a roller skier. Said good morning to a few other runners. Saw lots of light, glowing green, the small dark form of a flying bird.
Listened to car wheels whooshing and birds chirping as I ran to the falls. Put in my “I’m Shadowing You” playlist on the way back and kept working my way through the songs.
White Shadow/ Peter Gabriel Glamour Professional/ Steely Dan Hot Lunch Jam/ Irene Cara We Three (My Echo, My Shadow, and Me)
It’s hard to tell black from white When you wake up in the middle of the night
I thought I heard the line as, in the middle of the light, which makes more sense to me. Maybe I can’t see “white” at night, but I can see contrasts, light from dark, very easily. It’s color I can’t see. Waking up in the middle of light would be far more blinding, I think.
Reading the lyrics for “White Shadow” I was turned off by the rhymeiness of it all; he even did that annoying thing of altering the words a little to make them fit the rhyme. Ugh. But, dammit, when I listened to him singing them again, he made them sound cool. How can you make No one knew if the spirit died/All wrapped up in Kentucky Fried sound cool?
“Glamour Profession” was Scott’s addition. I kept waiting to hear where shadow fit in, but didn’t. I missed it; maybe because I was distracted by the name, Hoop McCann:
6:05 p.m., outside the stadium Special delivery for Hoops McCann Brut and charisma poured from the shadow where he stood Looking good, he’s a crowd-pleasing man
Shady Sadie/Serving Lady skimming off the top, making the same cheap and barely edible lunch for those Fame kids and pocketing the rest of the money. I always thought Irene Cara sang, southern lady. If it’s yellow, then it’s yellow/if it’s blue it could be stew
I want to include all of the lyrics for “We Three”:
We three, we’re all alone Living in a memory My echo, my shadow, and me
We three, we’re not a crowd We’re not even company My echo, my shadow, and me
What good is the moonlight The silvery moonlight that shines above? I walk with my shadow I talk with my echo But where is the one I love?
We three, we’ll wait for you Even till eternity My echo, my shadow, and me
“We three we’re all alone. Seems like we’re livin’ in a memory. That’s my echo my shadow and me. We three we ain’t no crowd. Fact is we ain’t even company. That’s my echo my shadow and me. You know I been wonderin’ what good is the moonlight that silvery moonlight that shines way, way up above? Yeah, I walk with my shadow, I talk with my echo, but where is that gal that I love?”
We three, we’ll wait for you Even till eternity My echo, my shadow, and me
I really like this song and thinking about the relationship between a self, its echo, and its shadow, although I think more positively of these three than the Ink Spots do.
At some point during the run, I remember thinking about how some shadows are still, frozen, sharply formed, while others stutter or flutter or vibrate like echoes.
When I heard the line, Seems like we’re livin’ in a memory, I thought about how I mostly can’t see people’s faces clearly and that I’ve either learned to tune it out and speak/look into the void, or I just fill in the smudge with the memory of their face. I’m used to it, and often forget I’m doing it until suddenly I wonder as I stare at the blob, am I looking in the right place, into their eyes, or am I staring at their chin? I don’t care, but I imagine the other person might, so I try to find their eyes again.
Almost home, the playlist returned to the beginning and I hear, “I’m shadowing You” again. This time I thought about shadowing as obsessing over something. To shadow someone or something is to be obsessed with it.
The Silhouette Theory of character design. What you do is take your lead character (or characters) and reduce them down to a silhouette — plain old black and white — and see how distinctive they look. It’s a common technique in animation. One of the initial decisions in creating a character is to choose a shape (before contour or even color) that is eye-catching and conveys attitude, so the character ‘lands’ in the animated world, has impact, and is easy to track. It works because our minds tend to register size, posture, shape and body language before processing other cues, like facial expressions or actions.
Okay spring. What a glorious morning! Birds, sun, shadows, green. Ran north, past the trestle. Didn’t see the river (too much green), but said Hi! to Dave and waved to Daddy Long Legs. Encountered, twice, a trio of very fast runners, someone on an eliptigo, and a roller skier.
Thought about shadows as the world of almost — echoes and reflections too. Welcome to the world of almosts not quites nearly theres. Glad you could join me. Some day, I’ll write a poem, or a series of poems, about the almost world I inhabit, where the shadow of a fence feels more real than the fence. As my mind wandered, I also thought about one of my favorite books as a kid: The Shades. I should read it again — just requested it from the library. I would buy it, but it must be out of print: a used copy is $300!
On the way back, I put in my “I’m Shadowing You” and listened to more of my shadow songs:
I’m Beginning to See the Light
Twlight
The Shadow Knows (just the beginning)
Yesterday
Moon Shadow
Golden Years
Candle Mambo
If You Go Away
We Will Become Silhouttes
So many interesting thoughts about shadows, some of them already gone: used to ramble through the park/shadowboxing in the dark — twilight as a time when shades are drawn and silhouettes appear on them — there’s a shadow hanging over me —
And if I ever lose my eyes If my colors all run dry Yes, if I ever lose my eyes Oh if, I won’t have to cry no more
Yes, I am bein’ followed by a moonshadow Moonshadow, moonshadow Leapin’ and hoppin’ on a moonshadow Moonshadow, moonshadow
When this part of “Moonshadow” played I got excited. Yes! Losing my eyes? Color running dry? That’s me. It didn’t make me sad, but almost, strangely (I suppose), joyful in my recognition of my experience. And, yes, I will always have the moonshadow. In fact, as my vision diminishes, shadows are even more meaningful.
Run for the shadows/Run for the shadows
I wondered if the singer in “Candle Mambo” was dancing with his own shadow in the candlelight.
Listening to Neil Diamond’s version of “If You Go Away,” I was struck by the absence of shadows — when the person he loves goes away, all dark; when they’re there, all light. No in-between — either nothing matters, or it matters too much. Neil needs some shadows to temper all his drama.
Just as I reached home, “We Will Become Silhouettes” came on. Very fitting for what I was thinking about before my run:
silhouettes
Thinking about shadows and light, I was reminded of a video I watch 10? years ago on Steven Spielberg and his use of shadow and light. I couldn’t find it, but found something else. Near the end, on a segment featuring shadows, I heard this line:
A rule in comic books is that a character should be recognizable just by looking at their silhouette.
Immediately I thought about forms and my interest in experimenting with how little visual information we need to recognize something — the silhouette as form. I also thought briefly about Platonic Forms. Then I thought about silhouettes, especially the ones I remember making in elementary art class. I looked up “silhouette” and found an article from the Smithsonian: Q and Art: Silhouettes. It mentions the influence of silhouettes on current artists like Kara Walker — Yes! I remember seeing an exhibit of her work at the Walker — in 2007 (I looked it up). Very cool.
I found this video about Walker’s work that I’d like to watch after my run.
The silhouette lends itself to an avoidance of the subject, you know, not being able to look at it directly.
[about Stone Mountain, GA, where Walker grew up, after moving there from Stockton, CA] So that place has a little more resonance. It’s so in-your-face. There’s just no hiding the fact of what black stands for in white america and what white stands for in black america — they’re all loaded with our deepest psychological perversions and fears and longings.
I was tracing outlines of profiles and thinking about physiognomy and racist sciences and minstrelsy and shadow and the dark side of the soul. And I thought, you know, I have black paper here, and I was making silhouette paintings, but they weren’t the same thing. It seemed like the most obvious answer, it took me forever to come to, was just to make a cut in the surface of this black thing. You know I had this black surface and if I just made a cut in it I was creating a hole. It was like the whole world was in there for me.
Discussing her work Insurrection, she describes how overhead projects were used so that the shadows of visitor’s moving through the exhibit would be projected on the work, “so maybe they would feel implicated” in the scene, the history.
I began to love the kind of self promotion surrounding the work of the silhouette artist. They would show up in different towns and advertise their skills, sometimes very overblown language describing their incredible skills: able to cut in less than a minute, 10 seconds, for your likeness, your accurate likenesses. I also began to question this whole idea of accurate likenesses.
vision moment: While watching the video on my iPad, I paused it to transcribe what she was saying. When I put my finer on the iPad to scroll back a little and start again, my finger had disappeared. Georgina Kleege talks about this happening to her in Sight Unseen, but I didn’t remember experiencing it until today. It’s very localized, in one spot, and only if the contrast is bad. Am I mis-seeing this? Is it just the lack of contrast?
a thought about the monthly challenges
I’ve done monthly challenges about individual poets — Mary Oliver, Emily Dickinson, Linda Pastan — or single books — Dart, garbage — or a single poem — Hymn to Life. I’ve studied birds, water, wind, windows, ghosts, shadows. Sometimes, these studies lead to poem, and sometimes they’re the chance to care about something new, something I’ve never noticed or bothered to think about. I love these challenges. Today I loved thinking about silhouettes and remembering art projects I did as a kid and having a chance to think again about art work that I saw years ago but didn’t quite understand.
30 minute walk neighborhood, with Delia 65 degrees
Walked around the neighborhood on a beautiful, windy morning. A few hours before, it had been raining. Puddles everywhere. Mud, too. Birds, laughing kids, yellow and orange and red tulips all around. Also: overgrown weeds, dandelions, unruly grass. Oh — and pollen! I know that it could be much worse, but I still felt it: scratchy throat, itchy eyes, fatigue.
This morning I renewed my driver’s license. For me, it was a big deal. I was diagnosed with cone dystrophy in 2016, two months after I had barely renewed my license because I couldn’t initially read the Snellen chart. The woman behind the counter was generous — I remember her looking at me strangely after I said the wrong letters and then asking, Do you want to try that again? Slowly? For years I had been nervous about the vision test without knowing why.
When the ophthalmologist first told me I would probably lose all of my central vision, I felt relief — I just renewed my license so I don’t have to worry about doing the vision test until 2020! — and worry — What’s will happen in four years? As 2020 approached, my anxiety increased. But, because of the pandemic, I was able to renew my license online. No vision test! Another reprieve for four years!
Next month I turn 50 and it’s time to renew my license again. I decided to do it early, partly to get it over with and partly because Scott and FWA had both renewed their license’s two months ago and the person behind the counter didn’t make them take a vision test. Could I be so lucky? I hoped so.
This morning I was anxious. I tried to convince myself that it would be fine if I had to take the test — I told Scott, it’s great material for a poem. But the same guy was there and I didn’t have to take the test and now I have another four year reprieve.
10 Small Things I Remember
the woman at the front desk was wearing blue gloves
before we entered, a group of teenagers were called in — Anyone planning to take the test should follow me!
I heard those same teenagers giggling a few minutes later
my number, ended with a 54
when it was called, I was told to go to A14
the guy who issued my license asked me to meet him around the corner at A17 for my picture
he had two thick textbooks on the counter — did he ever have time to study? I couldn’t read the titles
for the first time, I wore glasses for my picture — before he took it he said, look at the blue dot. I couldn’t see any blue dot, but the picture turned out fine
earlier, nearing the entrance to the building, a man held a door for a woman as she walked out. She apologized when she almost ran into him and said, I’m sorry, I’m in my own head right now
also nearing the building: birds! so much birdsong!
I am not planning to drive. I haven’t for five or six years. It’s too scary and dangerous. Still, it’s nice to have my license, just in case.
My anxiety over the vision test has some layers, I think. It’s not just about failing it, or even primarily about failing it. I think it’s time to do some digging.
the allegory of the cave, part 2
Yesterday Scott and talked about Plato’s Cave and what we remembered from when he first heard/read about it. Then I watched a few more videos about it, all of which connected the cave and the shadows to a hero’s quest and being enlightened by a Philosopher King. Thought about writing against that and decided I didn’t want to. Instead, I attempted to read Jack Collum’s hard-to-understand-poem, Arguing with Something Plato Said. Some of it, I think I understand and some of it, I don’t. Learned a new word: chiaroscuro
This is an Italian term which literally means ‘light-dark’. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted.
Artists who are famed for the use of chiaroscuro include Leonardo da Vinci and Caravaggio. Leonardo employed it to give a vivid impression of the three-dimensionality of his figures, while Caravaggio used such contrasts for the sake of drama. Both artists were also aware of the emotional impact of these effects.
Nice! With my interest in ekphrastic poems, I plan to think about this concept some more.
Ran with Scott on a beautiful spring morning. Sun, shadows, a welcome breeze. We ran over to St. Catherine’s University, across the river. RJP has almost decided to go there (hopefully she makes up her mind tonight) and we wanted to check it out. I’m impressed and excited to visit her next year. We talked a lot more in the first half of our run; we were both tired the last 2 miles. Scott talked about some Threads exchange involving Drake, Kanye West, and a diss track. We heard a creaking tree and I said it sounded like the squeaking gate we heard yesterday afternoon while we were walking. The mention of the gate reminded me of Marie Howe’s poem, “The Gate,” which I recited for Scott (of course I did). We talked about many other things but I just remember discussing what a wonderful campus St. Cates is and how great it will be for RJP.
On the sidewalk just outside of campus, we encountered several sidewalk poems that are part of the Public Art Sidewalk Poetry project. Scott took a picture of one:
November/ Marianne McNamara and Scott’s feet
November/ Marianne McNamara (2009)
Autumn winds drag leaves from the trees, clog the streets in dreary finale. Bare branches crisscross the heavy sky. Icy rain spatters, ink-blots the pavement. I settle at the window, stare into the black flannel, search the woolly lining of the night for winter.
I was unable to read this on the sidewalk, so I’m glad I could find it online. How hard is it for someone with good vision to read? I like the idea of this project, but in practice, it doesn’t quite work. Scott suggested they should use black paint on the letters, to make them stand out.
10 Things
smell: lilac, intense
tree shadows, more filled in than last week
a loud leaf blower
a safety patrol on the corner near Dowling saying I hate you, I hate you — who was he talking to?
the soft trickle of water falling from the sewer pipe near the 44th street parking lot
mud and ruts filled with water at a construction site on the edge of campus
feeling a fine film of dust on my face near the end of the run
more than a dozen signs in the grass outside a liquor store, each one said the same thing: wine sale. Scott: I guess they’re having a wine sale
running down Randolph encountering 3 or 4 sidewalk poems, none of them marked on the map
noticing a faint white thing flying through the air, high above us: a bird? a plane? a trick of the light or corrupted data from my eye to my brain?
the allegory of the cave, part 1
I want to read the cave parable and think about its shadows, but I want to read it in the context of The Republic so I’ve been searching my shelves for my copy. Which class in college did we read this for? Probably The Individual and Morality. Maybe a philosophy class? Anyway, it is very hard for me to find one book among almost a thousand. When we moved in I organized them, but over time, books have moved. Also, it’s dim in our living room and I have a lot of trouble reading book titles with my bad eyes. Yesterday I asked RJP to help, and she found it! Maybe I’ll try reading some of it out on the deck this afternoon. Reading physical books, as opposed to e-books, can be hard; there’s never enough light unless I’m reading it under my special lamp (designed for sewers and cross-stitchers and 80 year-olds with bad eyes and me). Reading outside in natural light helps.
an hour spent outside reading and dozing off and reading again . . .
First, two links that connect Plato and his cave with poetry:
From the Republic/ Plato — tldr; In these sections, Plato discusses why he doesn’t like poets. I’ll have to return to these sections.
Reading through the allegory, I came accross these lines:
. . . the eyes may be confused in two ways and from two causes, namely when they’ve come from the light into the darkness and when they’ve come from the darkness into the light. . . whether it has come from a brighter life and is dimmed through not having yet become accustomed to the dark or whether it has come from greater ignorance into greater light and is dazzled by the increased brilliance.
518a, The Republic / Plato, trans. G.M.A. Grube
Of course, I immediately thought of two of my favorite vision poems (what I’m calling them) by Emily Dickinson. And of course I have both of them memorized — but not her punctuation.
We grow accustomed to the Dark When light is put away As when a neighbor holds the lamp To witness her goodbye.
A Moment — We uncertain step — For newness of the Night (We Grow Accustomed to the Dark/ ED)
Too bright for our infirm Delight The truth’s superb surprise
. . .
The truth must dazzle gradually Or every man be blind. (Tell all the truth but tell it Slant/ ED)
I remember Plato’s cave and the shadows and the inability to access Truth, but I didn’t remember him discussing how both too little light and too much light blind us. The emphasis, as I recall, was always on darkness = bad, ignorance, the problem. Was I just not paying attention in philosophy class?
Searching for “plato cave,” I came across a video about it and decided to watch it:
The School of Life
I’d like to write more about what I find to be missing (also what’s helpful) in this account, but I’ve run out of time. Here’s one more video for comparison that I just started watching. When I have time, I’ll reflect on both:
Late morning felt hot today. Bright sun, not much shade. The river road was closed off for the annual Walk MS charity event so I ran on the dirt/mud trail between it and edmund. Listened to my “I’m Shadowing You” playlist for the whole run:
(skipped Shadow Song/Screaming Trees, Shadows and Light/ Joni Mitchell) Silver Shadow/ Atlantic Starr Total Eclipse of the Heart/ Bonnie Tyler Help Me Make It Through the Night/ Kris Kristofferson Sunshine in the Shade/ The Fixx The Shadow of Your Smile/ Astrud Gilberto Evening/ The Moody Blues White Room/ Cream
I wondered what a silver shadow might look like, then I wanted to see one. The silver outline of the sun behind the clouds? My shadow on the blue-white snow? I know — it’s Eamon Grennan’s birdsong in his poem, Lark-Luster:
. . . when summer happens, you’d almost see the long silver ribbons of song the bird braids as if binding lit air to earth that is all shadows, to keep us (as we walk our grounded passages down here) alive to what is over our heads—song and silence—and the lot of us leaning up: mind-defeated again, just harking to it.
Then I got distracted by mud and people and the sun and didn’t give close attention to the lyrics for the next three songs, only briefly registering that Bonnie Tyler was singing to someone whose love is like a shadow on her, keeping her in the dark; Kris Kristofferson was comparing someone’s hair “laying soft upon his skin” to the shadows on the wall; and The Fixx were declaring that they were the sunshine in the shade of life.
Off the grass, back on the road, I thought about Astrud Gilberto’s affection for the shadow of a smile — was the shadow cast by a very bright smile? Looking at the lyrics now, I understand the shadow to be the wonderful (but haunted?) memory of a love that didn’t last.
I am really digging The Moody Blues, “Evening.” That flute! Shadows on the ground/never make a sound/fading away in the sunset/Night has now become/Day for everyone
I thought about the white curtains in Marie Howe’s dark room instead of Cream’s black curtains in a white room. where the shadows run from themselves.
This is fun! I like thinking about silver shadows as birdsong, and shadows softly caressing the wall, and what it would be like to see shadows running from themselves.
Near the end of “Shadow of Your Smile,” I saw something ahead of me, in the middle of the road. A big black dog? No — it’s that menacing turkey again! The one I wrote about on april 30th and april 11th. Just standing there in the middle of the road, his feather fanned out. This time I didn’t turn around, but walked by him, at a safe distance. I also took a picture:
RJP has named this big turkey Jon.
Zooming in, I see a brave person on the sidewalk, nearing Jon.
Recounting the story to Scott when I returned home, I decided that I wanted to imagine this turkey as a friend, not an enemy — or a frenemy? I also began to believe that he’s trying to tell me something: write about ME! And I will. Well, I already wrote one poem:
Unsettled
by noise
I stop to witness
a dark shape draw near
too big for
a squirrel
too small for a bear.
The moment suspends
unresolved until
the shape turns — pale beak
red wattle framed by
tail feathers. This Tom
wants trouble.
What if this turkey is my shadow-self? Will he be around for my next run? I guess it’s the spring of the turkey — maybe the summer, too? I will add Jon — I might name him myself if he appear again — to my list of Regulars!
Inspired by another turkey sighting, and deciding that I will embrace these visits, here’s another amazing poem from Diane Seuss’s Sill Life with Two Dead Peacocks and a Girl:
The turkey’s strung up by one pronged foot, the cord binding it just below the stiff trinity of toes, each with its cold bent claw. My eyes
are in love with it as they are in love with all dead things that cannot escape being looked at. It is there to be seen if I want to see it, as my
father was there in his black casket and could not elude your gaze. I was a child so they asked if I wanted to see him. “Do you want to see him?”
someone asked. Was it my mother? Grandmother? Some poor woman was stuck with the job. “He doesn’t look like himself,” whoever-it-was
added. “They did something strange with his mouth.” As I write this, a large moth flutters against the window. It presses its fat thorax to the glass.
“No,” I said, “I don’t want to see him.” I don’t recall if I secretly wanted them to open the box for me but thought that “no” was the correct response,
or if I believed I should want to see him but was too afraid of what they’d done with his mouth. I think I assumed that my seeing him would
make things worse for my mother, and she was all I had. Now I can’t get enough of seeing, as if I’m paying a sort of penance for not seeing then, and so
this turkey, hanged, its small, raw-looking head, which reminds me of the first fully naked man I ever saw, when I was a candy striper
at a sort of nursing home, he was a war veteran, young, burbling crazily, his face and body red as something scalded. I didn’t want to see,
and yet I saw. But the turkey, I am in love with it, its saggy neck folds, the rippling, variegated feathers, the crook of its unbound foot,
and the glorious wings, archangelic, spread as if it could take flight, but down, down ward, into the earth.
Warm, too warm. I need to remember to start these runs much earlier and to wear a tank top. A beautiful morning. All sun. Perfect for giving attention to shadows. Noticed many, cast from: new leaves on trees, tree trunks, lamp posts, a swooping bird, a parks truck, me.
Listened to water — dripping then trickling then gushing, vigorous rustling in the brush, some frogs in the marshy meadow near the ford bridge as I ran south to the falls. Put in my “I’m Shadowing You” playlist on the way back north.
I’m Shadowing You/ Blossom Dearie Me and My Shadow/ Frank Sinatra Shadowboxer/ Fiona Apple My Shadow/ Keane Shadow Dancing/ Andy Gibb
I didn’t think too much about the first two songs, but when I got to “Shadowboxer” it hit me: shadow box. I wrote the following before the run:
May is for shadows and I was thinking that I’d like to reread/study Plato’s Cave until I read this line in Readers recommend: songs about shadows— without them everything would be a floating morass of light and colour — drop shadows bring a third dimension to the 2D world. It made me think about one of my ongoing obsessions: ekphrastic poems and visual art. Just yesterday afternoon, I was reading Diane Seuss’ Still Life with Two Dead Peacocks and a Girl. (The title is a reference to Rembrandt’s “Still Life with Two Dead Peacocks and a Girl“)In several of the poems I read, Seuss describes the dark and light in some famous paintings — does she ever mention shadows? Here’s one of my favorites, both her poem and the painting:
Quince, Cabbage, Melon, and Cucumber/ Diane Seuss
Anything can be a marionette. A quince, a cabbage, a melon, a cucumber, suspended against a black background, illuminated by a curious white light. In this little show, the quince plays a full gold moon. The cabbage is the antagonist, curled outer leaves fingering the charcoal void. Cucumber’s the peasant, nubby belly to the ground like a frog. That leaves melon, center stage, rough wedge hacked out of her butter side. Each object holds its space, drawing the eye from quince to cabbage, melon to cucumber, in a left to right, downward-sloping curve. Four bodies hang in the box of darkness like planets, each in its private orbit. It’s a quiet drama about nothing at all. No touch, no brushing up against each other, no oxygen, no rot, so that each shape, each character, is pure, clean in its loyalty to its own fierce standard. Even the wounded melon exudes serenity. Somewhere, juice runs down a hairy chin, but that is well beyond the border of the box.
What would these four objects look like without the shadows around the curves, in the cracks, below the belly? Would they look more real? Less real? This painting is strange and haunting, and both difficult and easy for me to see. Can I remember it on the first part of my run? I’ll try. I’ll also try to notice how shadows offer depth, make things seem real, substantial, not just dots or flat objects.
side note: These fruits and vegetables as subjects reminds me of a movie that Scott and I rewatched the other week: The Four Seasons, with Alan Alda, Rita Moreno, and Carol Burnett. One of the other characters, Anne, has taken up photography and has spent the last 2? years photographing vegetables, one at a time. Her husband thinks this is ridiculous and offers it up as evidence for how little she does, and as one of the reasons he’s divorcing her. Reading Seuss’ poem and staring at Sánchez Cotán’s painting, I am far less judgmental of her choice than my 7 or 8 year old self was when she watched this movie, over and over, on HBO.
I searched for a clip from the movie and found it! Unfortunately it starts right after the photographs of the vegetables are shown.
Still Life with Vegetables and an Asshole Husband
During the run, I kept thinking about the painting and the objects painted in a box. How each of them were separated from each other, isolated, with some amount of light shining on them to display them. I thought about how sometimes I feel like I’m on display, a bright light shining on me, blinded, unable to see other people clearly even as I know they can see me. Disconnected from the world by the box. The shadow box, which brings me back to the Fiona Apple song, “Shadowboxer.” I started wondering about shadowboxing as a verb that didn’t mean boxing at shadows, but the act of putting someone on display, isolating them, turning them into a keepsake in a box on a wall, like the set of small boxes my mom had hanging in our many houses when I was growing up. I also thought about how there’s no reference point for size in the painting. What if the box was a small shadow box, and what if the fruit were miniatures, made out of wood or silk or plastic? (my mom loved wooden fruit) These thoughts made me want to study the history of shadow boxes.
Okay, just looked up shadow box origins and found some interesting stuff, which I’ll get to in a minute.
But first, any connection between Apple’s song and my version of shadowboxing? These lyrics seem promising:
Oh, your gaze is dangerous And you fill your space so sweet If I let you get too close You’ll set your spell on me
Now, the history of shadow boxes. I had no idea —
Sailors were the first to create shadow boxes. They made them out of wood salvaged from their ships. They made them out of fear. Sailors believed that if their shadow reached shore before they did, their life on land would be cursed. The box, containing the sum total of a sailor’s personal effects, protected their true self.
In this post, Karen Kao also mentions Cornell Boxes, named after Joseph Cornell who collected objects then arranged them in whimsical and weird ways in little wooden boxes. Adam Gopnik wrote about for the New Yorker in 2003: Sparkings.
Kao opens her post with an intriguing way to think about shadow boxes:
Think of a literal box, perhaps protected by a glass front, inside of which resides a world of whimsy. Think of it as found poetry in three-dimensional form.
Interesting, but what does this have to do with shadows? Not much, or at least not much in the way I expected. Shadow boxes don’t involve literal shadows, but figurative ones — the shadow-self as embodied through cherished objects. Am I getting that right? This shadow-self, serving as proxy for the real self, needs to be protected, plucked out of the world and made safe, preserved, in its own little box.
The idea of the shadow-self and the shadow as the property of the self bothers me a little. Even as I imagine my shadow to be connected to me, I don’t see it as me, mine. This leads me to a question for another day: what is the relationship between an object and the shadow it casts?
I want to return to the painting and Seuss’ poem and the shadows and dark and light within them, but I also want to finish this entry so I can go outside and sit in the sun.
Okay, I sat (and napped) in the sun for about an hour. I’m looking at the painting of the quince, cabbage, melon, and cucumber and thinking about light and darkness and shadows. Then, color. I think that this painting would look the same to me if it were in black and white — I searched for a black and white version, but couldn’t find one. Okay, back to shadows. They offer texture, especially on the cabbage. They also suggest that the light source is coming from the left side — a window? Anything else? I’ll keep thinking about it.
4 miles veterans home and back 57 degrees wind: 14 mph / 28 mph gusts
Ran with Scott. What did we talk about? I remember Scott talking a lot at the beginning — it was something he was excited about — but I can’t remember what it was. I do remember him complaining about Spotify and how some of their new policies hurt independent musicians like him. I talked about shadows and wind and marveled at a tree branch creaking in the wind. Oh — and I complained (again) about my new yellow shoes. I tried them one more time and they still hurt my feet and make my calves ache. I need to remember: no more yellow shoes!
The water was gushing at the falls. We could smell something being fried at Sea Salt — it’s open for the season! I heard and saw a cardinal. I was dazzled by the bright white paint on the locks and dam no 1 sign — we both wondered if it was a reflective paint that made it so bright. A mile later, I could barely make out the bright yellow sign at 38th — the one I referred to as a bee last month. It was dull and blended in with the greenish-yellow trees behind it.
My favorite thing today: the wonderful shadows the new leaves made on the sidewalk. Tiny little jagged dots or points, making the tree shadow look like something other than a tree. What? Not sure. A strange, magical sculpture? Glitter shadow? The leaves made the shadows strange, the shadows made the path strange. First encountering them on the double bridge, I didn’t think they were shadows but some sort of blob on the asphalt.
During the run I had mentioned that I didn’t know what my May challenge would be but that it would be fun to have a theme that I could make a playlist for. By the end of the run, after witnessing the wonderful shadows, I had my topic: Shadows! As we walked back, I was already creating my playlist.
I’m Shadowing You
I’m Shadowing You / Blossom Dearie
Me and My Shadow / Frank Sinatra and Sammy Davis Jr.
Shadowboxer / Fiona Apple
My Shadow / Keane
Shadow Dancing / Andy Gibb
Shadow Song / Screaming Trees
Shadows and Light / Joni Mitchell
Silve Shadow / Atlantic Starr
Total Eclipse of the Heart / Bonnie Tyler
Help Me Make It Through the Night / Kris Kristofferson
Sunshine in the Shade / The Fixx
the Shadow of Your Smile / Astrud Gilberto
Evening / The Moody Blues
White Room / Cream
Shadow Stabbing / CAKE
I’m Beginning to See the Light / Ella Fitzgerald
Twilight Time / The Platters
The Shadow Knows / Link Wray
yesterday / The Beatles
Moonshadow / Cat Stevens
Golden Years / David Bowie
Candle Mambo / Captain Beefheart
If You go Away / Neil Diamond
We Will Become Silhouettes / The Postal Service
Crepuscule With Nellie / Thelonious Monk
Discovered this poem on the Slowdown before my run. Oh, Dorianne Laux, what a gift your poem is today!
The odds are we should never have been born.
Not one of us. Not one in 400 trillion to be
exact. Only one among the 250 million
released in a flood of semen that glides
like a glassine limousine filled with tadpoles
of possible people, one of whom may
or may not be you, a being made of water
and blood, a creature with eyeballs and limbs
that end in fists, a you with all your particular
perfumes, the chords of your sinewy legs
singing as they form, your organs humming
and buzzing with new life, moonbeams
lighting up your brain’s gray coils,
the exquisite hills of your face, the human
toy your mother longs for, your father
yearns to hold, the unmistakable you
who will take your first breath, your first
step, bang a copper pot with a wooden spoon,
trace the lichen growing on a boulder you climb
to see the wild expanse of a field, the one
whose heart will yield to the yellow forsythia
named after William Forsyth—not the American
actor with piercing blue eyes, but the Scottish
botanist who discovered the buttery bells
on a highland hillside blooming
to beat the band, zigzagging down
an unknown Scottish slope. And those
are only a few of the things
you will one day know, slowly chipping away
at your ignorance and doubt, you
who were born from ashes and will return
to ash. When you think you might be
through with this body and soul, look down
at an anthill or up at the stars, remember
your gambler chances, the bounty
of good luck you were born for.
5.15 miles bottom of franklin hill 54 degrees wind: 3 mph
The sun is back! And so are shorts without tights. And rowers and roller skiers and laughing woodpeckers! A beautiful morning for a run. I remember looking down at the river: smooth and still. Heard a creaking noise under the trestle, almost like an old swing. Did someone hang up a swing down there? Smelled urine just above the flats — yuck! Encountered other runners and walkers and dogs and e-bikes — one was powering up the Franklin hill playing a classic rock song . . . I think it was AC/DC.
Running back through the tunnel of trees, almost done, I saw a dark shape up ahead. I assumed it was a dog. Nope, it was that big turkey again and this time he gobbled at me. The trail was narrow with no choice but to run right past him unless I turned around. Since I’m a wimp and he was staring menacingly at me, I turned around and ran until I reached the end of the fence. Then I climbed up to the bike trail. I’m fine with being a wimp.
Listened to the rowers as I ran north. After turning around and running up most of the hill, I put in Beyoncé’s new album, Cowboy Carter. Earlier today I was posting things about bees on a new resource page, Bees, so I have bees on the brain. Listening to Beyoncé, I heard a line with the word honey in it and thought, Queen Bee! Yes, more bees. I’ll have to add Beyonc´e to my bee page!
Before the run, I read this poem by James Schuyler that I’ve wanted to post ever since I discovered it a few weeks ago. I wanted to wait until it was green. Today it is, so I’m posting it:
In the sky a gray thought ponders on three kinds of green: Brassy tarnished leaves of lilacs holding on half-heartedly and long after most turned and fell to make a scatter rug, warmly, brightly brown. Odd, that the tattered heart-shapes on a Persian shrub should stay as long as the northern needles of the larch. Near, behind the lilac, on a trunk, pale Paris green, green as moonlight, growing on another time scale a slowness becoming vast as though all the universe were an atom of a filterable virus in a head that turns an eye to smile or frown or stare into other eyes: and not of gods, but creatures whose size begins beyond the sense of size: lichens, softly-coloured, hard in durance, a permanence like rock on a transient tree. And another green, a dark thick green to face the winter, laid in layers on the spruce and balsam or in foxtail bursts on pine in springy shapes that weave and pierce the leafless and unpatterned woods.
I know this is a poem about 3 different greens in the fall, nearing winter. I’m posting it because I love his descriptions of green and wanted to use it to think more about different greens today. That was my plan, at least, as I ran. All I managed to do was chant a few 3-beat greens:
emerald green army green jungle green pear green — lime green —
Mid-chant I noticed the dandelions on the edge of the trail and condensed the 4-syllable word, dan de li on into 3-syllables: dan dy lines
Dandy lines? Love it. Maybe the title of a poem — a cento with flower lines, or is that too much?
The green I remember most was possibly not even green, depending on who you ask. A biker biked by, wearing the brightest yellow-green (or maybe just yellow?) shirt I’ve been able to see in a long time. Usually yellow or yellow-green is muted for me. Not this shirt. Wow! So bright it almost made my eyes hurt. My vision is so strange. How was I able to see the bright color this time, when I usually can’t see it?
added a few hours later: I almost forgot to mention the little wren that I saw as I was walking back to my house. First, a flash — or flutter or flurry or small explosion* — of movement on the street. Something, I could not tell what, ascending. Then a scan, all around until the source was found: a tiny brown bird on the top of the fence. They stayed long enough for even me to see their little face. Such a tiny bird! What miracle today allowed me to see them?
After lunch, while doing the dishes, I listened to the New Yorker Poetry podcast and heard David Baker read his wonderful poem, Six Notes (notes refers to taking notes for a poem, six sections, and the notes of different birds). The beginning of his poem reminds me of my bird sighting, even though my little wren didn’t make a sound and was rising, not falling:
Come down to us. Come down with your song, little wren. The world is in pieces.
We must not say so. In the dark hours, in the nearest branches, I hear you thrum—
—
Come up to us. Come up with your song, little wren. The world is in pieces.
We must not say so. In the dark hours, on the nearest fence post, I see you thrum–
*Having suddenly added explosion of movement as one of my word options, I feel compelled to add the source of that inspiration. It’s from a Chen Chen interview I read yesterday and had been planning to post sometime soon. Here’s what he said:
Poems are the opposite of habits. They are explosions. Sometimes they are small explosions. But loud. Or huge, quiet explosions.
