Tag: afternoon

feb 3/RUN

5 miles
ford loop
38 degrees

Ran with Scott on the ford loop. Today I talked about the US Olympic Marathon Trials, which I watched this morning. A runner from Minnesota, Dakotah Lindwurm, got third. Scott talked about the music project he worked on before the run — a little jam with his new keyboard and bass. We also mentioned slippery mud, tight shins (Scott), cramped toes (me), running up the Summit hill during the marathon, and mistaking a fire hydrant (Scott) and a black fence (me) for people. I was surprised that there weren’t more people out running — it’s not that cold and the paths are clear. Maybe it was the time of day — 12:30?

10 Things

  1. an empty bench on the bluff
  2. a wide (r than I remembered) expanse of grass between the path and the edge
  3. the crack trail
  4. some strange decorations on the fence in front of the church — yarn? paper chains?
  5. a car blasting music at an overlook parking lot — the only lyric I remember was senorita
  6. a wide open view of the river and the other side
  7. a double lamp post on the ford bridge — one light was on, the other was not
  8. the dead-leafed branch that’s been pushed up agains the other side of the double bridge for months — still there with all of its dead leaves
  9. no poem on the poetry window — have they stopped doing it? was it just for the pandemic?
  10. ice on river, near the east shore, one chunk almost the shape of a right triangle

Searching “peripheral” on the Poetry Foundation site, I found this interesting blurb:

Poet Tan Lin edited issue 6 of EOAGH, for which he invited contributors to submit a piece of “peripheral” writing – that is, a text that doesn’t directly supply the material or inspiration for the authors’ work, but is in some tangential, peripheral, or ambient way, related.

blurb

I would like to play around with this idea of the peripheral text in my own writing. What are the peripheral texts, ideas, practices that contribute to my poems, especially my Haunts poems?

jan 27/RUN

4.15 miles
franklin loop
34 degrees / humidity: 82%

Another run with Scott. As we ran north we talked about jazz band and soloing and COVID and how some people are still isolating and how it’s never going away but we’re learning to be out in the world again. Then I talked about muddy trails and no snow and Scott imagined possibilities for his new projects, including an arrangement of Porkpie Hat.

10 Things

  1. slippery mud — almost fell!
  2. crossing the franklin bridge, the water looked like dark glass
  3. the shore was glowing white
  4. the edges of the water were gray and icy and looked cold
  5. crossing the lake street bridge, the water was dark gray with small waves
  6. also on the lake street bridge: a sandbar that stretched out from the bridge footing
  7. most of the lamps on the bridge were lit, only a few had been stripped of their wires
  8. no eagle on the dead tree limb near the bridge
  9. the sky was gray and gloomy, the tree line was a soft, pleasing brown
  10. spotted: a small white strip of something on the trail. Was it a ruler? I couldn’t quite tell

dec 20/RUN

5.25 miles
ford loop
34 degrees

Yes! Loved my run today — the light! the shadows! It started when I saw some strange patches of white on the sidewalk — what were they? Suddenly I realized: light, coming through the cracks in a fence and landing on the dark, shadowed sidewalk. Very cool.

10 Things: 4 Lights and 6 Shadows

  1. the light coming through the fence
  2. the shadowed sidewalk it landed on
  3. my shadow down in the ravine, running beside the water leading to shadow falls
  4. on the lake street bridge: the sun on the river — sparkling, stretching down river towards the ford bridge
  5. on the ford bridge: the sun illuminating a buoy below me
  6. the shadows of trees on the river
  7. the pointed shadows of the lamps — fuzzy
  8. my shadow running in front of me –sharp
  9. standing on the grass between edmund and the river road, looking across to the east bank, noticing a very white house shining in the sun
  10. the pattern of the railing shadows on the lake street bridge — criss-crossed, sprawled

I felt strong and happy and steady. For the first few miles, I chanted strawberry/raspberry/blueberry over and over. Occasionally I mixed in mystery or history or intellect. At one point, I chanted: a question/is asked and mystery/is solved

I noticed the empty benches, the darting squirrels. Smelled some burnt toast and weed (wow! must have been from a passing car). Heard some voices in the ravine. Didn’t see any Regulars or hear the bells at St. Thomas. Don’t remember birds or bikes. No roller skiers. No overheard conversations.

added over a day later: I forgot that I took some pictures when I stopped briefly on the ford bridge to put in my headphones:

My view from the ford bridge, looking north and down at the Mississippi river. On the right (almost) half of the image is the brownish-greenish shore. On the left, the blue river with dark shadows from the bridge covering it's surface. The shadows are of the columns and are both thick and thin. If I squint hard I can almost see my shadow at the top taking the picture. Is it there, is it just in my imagination?
ford bridge shadows / 20 dec 2023

For the first four miles I listened to kids playing at the church playground, cars driving by, my feet striking the ground. Then I put in Merrily We Roll Along for the last mile.

Letter to Walt Whitman,
Who Painted Butterflies/ Kelli Agodon Russell

In 1942, Whitman’s handmade cardboard butterfly disappeared from the Library of Congress.
It was found in a New York attic in 1995.

Perhaps, you made them as a child—
cardboard butterflies lining your shelves,
hiding in the pockets of the wool pants
you wore only to church.
Maybe you would wake early
to cut cardboard into small waves
forming wings, and antennae appearing
like exclamation points.
Words fluttered from your pen,
cardboard wings dipped in red paint,
holding patterns of words,
the quiet swirl of wind.
Maybe there are thousands
of your butterflies still lingering in attics,
your secret world of paper insects
still hanging by threads.

I wanted to post this poem because I like how it’s set up, with the brief description, then the wondering/imagining about it. A fun exercise to try: when I find an interesting fact (here I’m thinking about the monarch butterflies that avoid a mountain in lake superior that’s been gone for more than a century), write a poem that speculates/imagines/creates a story around it.

dec 13/RUN

4.5 miles
john stevens house and back
38 degrees

Sunny and warmer! Shadows! Clear, dry paths! A great afternoon run, even if my left IT band started hurting…again. I was able to run on all of the walking paths, even when they split off from the bike path.

Listened to kids, cars, chainsaws, and some guy with a DEEP voice as I ran to the Steven’s house and The Wiz on the way back.

10 Things

  1. the light was lower — it felt later than 2:30*
  2. a walker with a big white dog
  3. the falls seemed to be rushing more than on Monday
  4. a sour sewer smell near the John Steven’s house
  5. kids yelling and laughing on the playground
  6. a bird flying low in the sky, off to my side, almost looking like a fluttering leaf
  7. the soft whoosh of the light rail nearing the station
  8. the bells ringing as it left the station
  9. my feet feeling strange, awkward until I warmed up
  10. the buzz of a chainsaw echoing across the gorge

*the light reminded me of the line from ED:

There’s a certain Slant of light,
Winter Afternoons – 

But this light wasn’t oppressive. It was warm and welcoming.

I’m continuing to plug away at my haunts poem, even though I was feeling burned out yesterday. I decided to read Lorine Niedecker’s “Lake Superior” and the translator’s afterword for Perec’s How to Exhaust a Place. It helped and I think I had a break through this morning. Now I’m looking to Sarah Manguso’s Ongoingness and 300 Arguments for inspiration. My focus: restlessness and stone and water. And, 2 mantras: 1. let it go and 2. condense! condense! condense!

dec 4/RUN

2 miles
ywca track

Back at the end of October, we rejoined the y so that I could swim in the winter and Scott could run and hot tub. With Scott’s busy schedule and my desire to run outside, today was the first day we finally went. The hot tub is closed indefinitely. We decided to cancel our membership and run outside — fine by me. I’ll miss swimming a little, but I’m feeling like 2024 is a serious running year.

I didn’t mind the track, it was fine — not crowded, warm — but it’s not the same as being outside above the gorge. I forgot my headphones so I listened to the sounds around me as I looped the elevated track: a guy lifting weights and muttering to himself, high schoolers playing basketball and dropping a few f-bombs, my own breathing. The people I passed: an older man walking with a cane, a young-ish woman walking then briefly running, an older woman walking, a guy in a red shirt reading a book on his phone as he walked.

added a few minutes later: I just remembered that I was running on the track, feeling my feet bounce on the springy track, I thought about how my feet connect to the ground. Then I thought about how I connect/am connected to a place also through breath — lungs inhaling, moving through air. Wind/air/breath are unseen and less noticed than feet striking the ground, but air is there and we possess/are possessed by it through our breaths.

This morning I woke to the wonderful news that 2 of my mood ring poems have been nominated for a Pushcart Prize. This is a big deal and makes me very proud and pleased that my strange poems are meaningful to others. I’ve worked hard for 7 years, writing almost daily, trying to develop ways to express what it feels like to be losing my vision.

Today A.R. Ammon’s Tape for the Turn of the Year came and I’m excited to read it and be inspired by it. In anticipation, I checked out Ammons’ collected works. Here’s a poem I ‘d like to remember and put beside Mary Oliver’s ideas about writing and language in The Leaf and the Cloud:

Motion/ A. R. Ammons:

The word is
not the thing:
is
a construction of,
a tag for,
the thing: the
word in
no way
resembles
the thing, except
as sound
resembles,
as in whirr,
sound:
the relation
between what this
as words
is and what is
is tenuous: we
agree upon
this as the net to
cast on what
is: the finger
to
point with: the
method of
distinguishing,
defining, limiting:
poems
are fingers, methods,
nets,
not what is or was:
but the music
in poems
is different,
points to nothing,
traps no
realities, takes
no game, but
by the motion of
its motion
resembles
what, moving, is—-
the wind
underleaf white against
the tree.

nov 26/RUN

4.1 miles
minnehaha falls and back
30 degrees
50% snow-covered

It snowed last night and left less than an inch on the ground. The trail was half clear, half snow-covered. A bit slick. I think my feet might have slipped some, but never enough to be a problem. Ran south to the falls. Beautiful! Gushing.

Ran without headphones and listened to my collar rubbing against my cap, a few voices rising up from the gorge, falling water.

Running just past the double bridge I smiled when I saw 2 turkeys up ahead on the path. I was wrong — no turkeys, only trees with plastic rings around their trunks, standing next to the path.

I’ve been working on my haunts poems and as I ran I thought about the plaques/ghosts bikes/flowers I just wrote about this morning. 3 instances of people dying in very unlikely circumstances: a boy picked at random and then shot in the back while biking; a runner hit by a driver who lost control when he had a seizure (or some sort of incident) because of 4 huge tumors in his brain he didn’t know were there; and a woman pulled over, fixing her bike, hit in a parking lot. Unsettling. The last one didn’t happen by the river, but in Germany; the woman was from this neighborhood and is remembered her by friends and family. The other two did, and at spots I regularly run by.

Today’s poem-of-the-day on poets.org, The Mountain, begins with these fitting lines:

There is snow, now— 
A thing of silent creeping—

…

There is snow, now— 
A silent creeping . . .

…

Snow, snow, snow—
A thing of silent creeping 

from The Mountain/ D’Arcy McNickle

I don’t mind the snow — in fact, I like it! — but it does silently creep. From now until March of April, adding inches, covering everything.

oct 11/RUN

3 miles
2 trails
58 degrees

Ran in the afternoon. Much warmer. Too warm. Overdressed in my long-sleeved bright yellowish green 10 mile racing shirt. Listened to Olivia Rodrigo for the first mile, then took out my headphones for the rest. I heard trickling water, laughing and screaming kids making the kind of noise that’s on the edge between angry and joyful, wind rustling the leaves.

After I finished, walking on the grassy boulevard, dotted with dry leaves, I pulled out my phone and recording the sound:

crunching leaves / 11 oct

I started by walking through the leaves, kicking into them with my feet. Then I stepped on them. To my ears, the sound went from a crash to a crunch.

I ran the version of 2 trails in which I don’t take the 38th street steps but stay on the dirt trail through the oak savana then around the ravine. I thought about stopping to take a picture here — and many other places too, including the overlook near the southern entrance of the winchell trail — but I wanted to keep running. So I took a picture of the ravine from above and across the river road:

A road with tree shadows on it. Behind it, a split rail fence and some golden trees. Beyond it, but not pictured, is a ravine with a black wrought-iron fence and a metal slat walkway that I carefully ran over a few minutes before taking the picture. In the upper right corner, there is a yellow sign indicating a sharp curve. There are also 2 cars in the distance. When I was taking this picture, I only saw general forms: shadows trunks leaves road sky.
The split rail fence above the ravine from across the river road

sept 18/RUN

2.5 miles
2 trails
75 degrees

Recorded the lecture for my class this morning, so I had to run in the afternoon, when it’s warmer. Hot! Sunny! Everything dry and dusty, thirsty — the dirt trail, the dead leaves, me.

Listened to a playlist until I reached the south entrance to the Winchell Trail, then to the gorge. Dripping pipes, striking feet, my breathing, falling acorns.

10 Peripheral Things — above, below, and beside

  1. dirt flying up on my ankles as I ran on the dusty trail
  2. brittle red leaves, crunching underfoot
  3. the shadow of a bird flying overhead
  4. frantic rustling in the bushes — I flinched in anticipation of a darting squirrel that never arrived
  5. a walker moving over to the edge of the path for me to pass — thank you! / you’re welcome
  6. a slash of red just below — a changing leaf
  7. flashes of orange all around — construction signs
  8. to my right and below: dribble dribble dribble — water falling down a limestone ledge in the ravine
  9. shrill squeaking under the metal grate in the ravine as I crossed over it — a chipmunk?
  10. is this peripheral? breaking through several spider webs on the winchell trail, about chest height

For the second week of my class, which starts this Wednesday!, I’m offering alliteration as one way into the words for describing/conjuring/communicating wonder (along with abecedarians and triple berry chants). This poem-of-the-day on poems.com (Poetry Daily), is a great example of what’s possible when you write only words starting with one letter — in this case, a:

Autobiography/ Michael Dumanis

Attempted avoiding abysses, assorted
abrasions and apertures, abscesses.

At adolescence, acted absurd: acid,
amphetamines. Amorously aching

after an arguably arbitrary Abigail,
authored an awful aubade.

Am always arabesquing after Abigails.
Am always afraid: an affliction?

Animals augur an avalanche. Animals
apprehend abattoirs. Am, as an animal,

anxious. Appendages always aflutter,
am an amazing accident: alive.

Attired as an apprentice aerialist,
addressed acrophobic audiences.

Aspiring, as an adult, after applause,
attracted an angelic acolyte.

After an affirming affair, an abortion.
After an asinine affair, Avowed Agnostic
approached, alone, an abbey’s altarpiece,

asking Alleged Almighty about afterlife.
Ambled, adagio, around an arena.
Admired an ancient aqueduct. Ate aspic.
Adored and ate assorted animals.
Ascended an alp. Affected an accent.
Acquired an accountant, an abacus, assets.
Attempted atonal arpeggios

There’s also an essay about how Dumanis wrote this poem, which I haven’t had time to read yet. Very excited to check it out! Okay, I just skimmed it. Here are some resources from the end that I might want to explore:

A few terrific examples of letter-constraint-based contemporary poems include Phillip B. Williams’s tour de force “Mush-mouf’s Maybe Crown,” where all the words begin with M (or, occasionally, “em” or “im”); Izzy Casey’s univocalic “I’m Piss Witch”; several terrific single-vowel lyrics in Cathy Park Hong’s collection Engine Empire including “Ballad in A”; Harryette Mullen’s linguistic experiments, such as “Any Lit,” in her collection Sleeping with the Dictionary, and, of course, Christian Bök’s virtuosic book-length project Eunoia, in which, among other idiosyncratic constraints, every chapter can only use a single vowel. All such projects derive at least some of their inspiration from the mid-20th century French avant-garde collective Oulipo, or Ouvroir de littérature potentielle, a “workshop of potential literature,” which encouraged systematic, sometimes arbitrary, language-based constraint in the composition of texts. For my Oulipian autobiography, it was especially important to me that every individual narrative moment made clear semantic sense despite the constraint, that the alliteration did not overly affect the speaker’s syntax or natural cadence, that taken together they told the story of a life.

sept 8/RUN

1.75 miles
neighborhood
68 degrees

A quick run just after noon. Warmer than I realized, harder to move my legs too. Ran past 7 Oaks to the dirt path next to Edmund, past Minnehaha Academy, around Cooper school then back home. Construction trucks everywhere. They’re still working on the sewers, busting up the pavement, digging deep hole. Started in late May. Can’t wait until they’re done!

Today, instead of listening to the gorge or the neighborhood birds, I put in Olivia Rodrigo’s new album, GUTS. I like it. At the end of the run, “Making the Bed” came on. I liked how the whole song was about her regrets and taking responsibility for them and that she referenced the idiom you made your bed, now you must lie in it without ever explicitly singing those words, instead only singing, Me whose been making the bed. I’d like to play around with some idioms in a poem, experimenting with how to point to them without ever using them. I’d also love to find some examples from other poets.

Even as I listened to GUTS, I couldn’t block out all of the construction noise. So many construction things forcing me to notice them!

10 Construction Things

  1. the flash of bright yellow vests and hard hats
  2. a low constant rumble a few blocks away
  3. the loud roar of the big wheels of a dump truck rushing by
  4. the only slightly quieter roar of the smaller wheels of a bobcat following behind
  5. beep beep beep a truck backing up
  6. loose gravel and sand piled up to cover the pipes spread across the street, crunching under car wheels
  7. orange construction cones
  8. temporary stop signs
  9. big, city buses taking alternative routes on too narrow streets
  10. dusty, smoky clouds low in the air, breathed in through lungs

Yesterday I mentioned my discovery of some wonderful poems by Luisa A. Igloria. Here’s another. Wow!

Hog Island/ Luisa A. Igloria

The sun dips beneath a horizon of barrier
islands, marshes filled with traces
of the winged and wild-footed.

Skimmers in spring, migrants
wheeling toward the salt of other seasons.

On one side, the water; on the other,
the land—acres that yielded corn, tobacco,
barley, cotton. And where

are the quail that loved
fields of castor bean, that thrashed

in the wake of rifle fire? This
time of year, everything in the landscape tints
to the color of bronze and rust, registry pages

inked in sepia with names and weights;
the worth of indentured bodies. Palimpsest

means the canvas we see
floats on a geology of other layers—
sedimenting until the sea works loose

what it petrifies in salts and lye, what it
preserves for an afterhistory with no guarantee.

added a few hours later: Catching up on old New Yorker issues, I read this delightfully gross and somewhat horrifying opening paragraph from a section in talk of the town titled, “In the Water A Staten Island Lap”:

A swimmer freestyling through a shipping lane is a bit like a snail crossing the freeway. The situation is just as glamorous, and there tend to be few spectators. But when Leslie Hamilton, a thirty-one-year-old accountant swam a record-breaking clockwise lap around Staten Island last month, the biggest challenge wasn’t dodging garbage barges or intractable tankers with staunch, Soviet names like Salacgriva and Yasa Madur. It was lice. And she was saved by her bikini.

Sea lice. And her skin was crawling with them the entire time. The lice, which come from thimble jellyfish, lay tiny stinging cells on swimming suits. So Hamilton switched out her one piece for a bikini bottom and swam topless through the night. Wow.

Why did she do this? Here’s one reason she gave, as paraphrased by Daniel Shailer: Being uncomfortable makes everyday comforts exceptional.

march 30/WALKRUN

walk: 45 minues
neighborhood, with Delia the dog
30 degrees

Took Delia out for a walk around the neighborhood. North, then east past Cooper School and the giant mounds of snow plowed somewhere else then deposited on this field. Past the house that had been half-finished then abandoned a few years ago and is now finished and on the market for almost $900,000. Past the new Minnehaha Academy, which replaced the old one that blew up a few summers ago because of a gas leak — I heard it happen when I was out in my backyard mowing the lawn. Such a strange, loud BOOM!

Then south near the spot where some of the best fall color trees used to reside until they were marked for death with orange spray paint then chopped down — the brightest, most wonderful yellow every year. Under the huge, towering trio of cottonwood trees — the Cottonwood 3. Past the house with the oddly terraced lawn and the big windows, rarely covered with curtains or blinds in the evening so we were able to see, when returning by car in the evening from a baseball game or a clarinet recital, all the way to the back wall where letters hung on a shelf spelling out a word that none of us — not me or Scott, RJP or FWA — could ever decipher.

West, past the house with the wonderful butterfly garden on the boulevard, and the house that used to string bright lights around their giant — higher than the house — fir tree every winter. Was 2022/23 the first year they didn’t? Past the house with the bushes that, the first Christmas we lived in this neighborhood suddenly stopped their exuberant chatter when we walked by and Scott started talking. I noticed that those same bushes, birdless today, were a strange orangey, yellowy green. My guess is that they are dying, but maybe it’s just new growth that is confused by the return of the cold winter weather. Past the house that has one of the best gardens in the neighborhood and where I saw/heard someone giving a backyard cello lesson during the first year of the pandemic.

When we started the walk, the sky was blue and it was bright enough for sunglasses. Within a few blocks the sky was a grayish white. Still, quiet, no one around. Thought some more about color and how I still (mostly) see it, but that it doesn’t mean much anymore. It doesn’t mean nothing, just not much (this line is inspired by a line from the Bishop poem below that I read before my walk and run). Color doesn’t brighten or enhance what I see. Everything is soft and subdued. About halfway through the walk, I stopped to record some of my thoughts, including:

  • orange, which has been the most important color for me practically, doesn’t matter as much anymore
  • orange sounds (inspired by hearing some dead orange leaves rustling in the wind): sizzle, crackle
  • The only color that matters to me now is the silver flash of the bottom of the lifeguard’s boat on the other side of the lake; I use the silver flash for navigating during open swim

run: 3.1 miles
turkey hollow
33 degrees

While walking, I noticed at least 3 people running, which inspired me to go out there myself after I dropped Delia off at home. I felt a little stiff as I ran. My hip again? Otherwise, the run was fine. Ran turkey hollow but didn’t see any turkeys. Ran most of it without headphones. Put in a Taylor Swift playlist for the last mile. Was able to run on the walking path a lot of the time. Noticed more people heading below to the Winchell Trail. Sped up to pass a walker and a dog moving fast. Heard some sharp dog barks, saw some car headlights, their reflections flashing on a window.

(before the run)

This poem popped up on my twitter feed this morning. I was drawn to it because of its description of a walk — it’s a walk poem! Also: her use of color and of the phrase, “nothing much,” and how marvelously sets up the scene in the first stanza.

The End Of March/ Elizabeth Bishop (June 1974)

For John Malcolm Brinnin and Bill Read: Duxbury

It was cold and windy, scarcely the day
to take a walk on that long beach
Everything was withdrawn as far as possible,
indrawn: the tide far out, the ocean shrunken,
seabirds in ones or twos.
The rackety, icy, offshore wind
numbed our faces on one side;
disrupted the formation
of a lone flight of Canada geese;
and blew back the low, inaudible rollers
in upright, steely mist.

The sky was darker than the water
–it was the color of mutton-fat jade.
Along the wet sand, in rubber boots, we followed
a track of big dog-prints (so big
they were more like lion-prints). Then we came on
lengths and lengths, endless, of wet white string,
looping up to the tide-line, down to the water,
over and over. Finally, they did end:
a thick white snarl, man-size, awash,
rising on every wave, a sodden ghost,
falling back, sodden, giving up the ghost…
A kite string?–But no kite.

I wanted to get as far as my proto-dream-house,
my crypto-dream-house, that crooked box
set up on pilings, shingled green,
a sort of artichoke of a house, but greener
(boiled with bicarbonate of soda?),
protected from spring tides by a palisade
of–are they railroad ties?
(Many things about this place are dubious.)
I’d like to retire there and do nothing,
or nothing much, forever, in two bare rooms:
look through binoculars, read boring books,
old, long, long books, and write down useless notes,
talk to myself, and, foggy days,
watch the droplets slipping, heavy with light.
At night, a grog a l’américaine.
I’d blaze it with a kitchen match
and lovely diaphanous blue flame
would waver, doubled in the window.
There must be a stove; there is a chimney,
askew, but braced with wires,
and electricity, possibly
–at least, at the back another wire
limply leashes the whole affair
to something off behind the dunes.
A light to read by–perfect! But–impossible.
And that day the wind was much too cold
even to get that far,
and of course the house was boarded up.

On the way back our faces froze on the other side.
The sun came out for just a minute.
For just a minute, set in their bezels of sand,
the drab, damp, scattered stones
were multi-colored,
and all those high enough threw out long shadows,
individual shadows, then pulled them in again.
They could have been teasing the lion sun,
except that now he was behind them
–a sun who’d walked the beach the last low tide,
making those big, majestic paw-prints,
who perhaps had batted a kite out of the sky to play with.

colors

  • The sky was darker than the water
    –it was the color of mutton-fat jade.
    Mutton-fat jade = white to pale yellow, so it must refer to the color of the water, not the sky.
  • wet, white string
  • my crypto-dream-house, that crooked box
    set up on pilings, shingled green,
    a sort of artichoke of a house, but greener
    (boiled with bicarbonate of soda?)
  • diaphanous blue flame
    would waver, doubled in the window
  • the drab, damp, scattered stones
    were multi-colored

a line I like

I’d like to retire there and do nothing,
or nothing much,

Thinking about the difference between nothing and nothing much. Nothing seems bigger and grander, more dramatic — too dramatic. Is it even possible to do nothing and still be alive? I like nothing much. There’s nothing grand or dramatic about it, yet it still undercuts the idea that we should be Doing Something! all the time. Nothing much is mundane, routine. You’ve done some things but nothing special or worth making a big deal out of.

I like this poem. Even so, the more I read it the darker and heavier it seems. The gross colors (mutton fat jade? boiled artichoke?), the icy wind, everything gone or almost beyond repair. And here’s something else I just realized: according to an essay I read about this poem, it was written after a visit in June. June! (And no random June, but June of 1974, the month and year I was born.)

In June of 1974 Elizabeth Bishop and her partner Alice Methfessel stayed at the Duxbury, Massachusetts beach house belonging to Bishop’s friends John Malcolm  Brinnin and Bill Read. Bishop reported that she initially wrote “The End of March” as a kind of thank-you note to her friends (Biele 55).

“The End of March”: Bishop and Stevens on the Sublime—Union or Relation?

If Duxbury, Massachusetts is anything like the UP (where I was born and visited a lot in the summer until the early 2000s), Bishop could be describing a summer’s day. Icy wind, too cold to walk for long, sunless? Yuck.

In the article I read skimmed, the author puts Bishops’ poem into conversation with Wallace Stevens, specifically his poem, “The Sun this March” but also other poems of his. I kept thinking about it in relation to A. R. Ammons’ “Corsons Inlet”, another walk poem by the sea. It’s long, so here’s just the opening:

I went for a walk over the dunes again this morning
to the sea,
then turned right along
the surf
rounded a naked headland
and returned

along the inlet shore:

it was muggy sunny, the wind from the sea steady and high,
crisp in the running sand,
some breakthroughs of sun
but after a bit

continuous overcast:

the walk liberating, I was released from forms,
from the perpendiculars,
straight lines, blocks, boxes, binds
of thought
into the hues, shadings, rises, flowing bends and blends
of sight:

Both poems have wind and only a little bit of sun. Ammons seems warmer, at least at the beginning with its muggy sun and crisp wind. And both involve not doing much. Here’s how Ammons concludes the poem:

I see narrow orders, limited tightness, but will
not run to that easy victory:
still around the looser, wider forces work:
I will try
to fasten into order enlarging grasps of disorder, widening
scope, but enjoying the freedom that
Scope eludes my grasp, that there is no finality of vision,
that I have perceived nothing completely,
that tomorrow a new walk is a new walk.

Their different perspectives on how a walk, and the world by the sea that they move through, inspire them and their writing is fascinating to me. Bishops is narrow and restraining and finished?, while Ammons is all over the place and almost too free, too formless. And, it’s alive, new, continuously renewed day after day.

I’ve wanted to study A.R. Ammons poetry for a few years now. I think finding the Bishop poem, then being reminded of Ammons, is the nudge I need to make this a mini-project! I’ll end March/begin April with Ammons!