Tag: afternoon

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 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!

march 24/RUN

3.85 miles
river road, north/south
38 degrees

Ran just after noon today. Sunny and warm. My legs felt a little sore, but the rest of me was loving this spring weather. Right before I went out, I read this poem and gave myself an assignment:

Thaw/ Edward Thomas

Over the land freckled with snow half-thawed
The speculating rooks at their nests cawed
And saw from elm-tops, delicate as flowers of grass,
What we below could not see, Winter pass.

Thaw as the theme for my running today. How many instances of it can I encounter?

10+ Thawed Things

  1. water dripping down the sewer, a fast flurry of drips, sounding like glitter looks
  2. sandy grit on the edge of trail, left behind by the melted snow
  3. also remaining after the snow melted: mulched-up leaves, small, brittle twigs
  4. mud!, part 1: thick and wet and milk chocolate brown, ruts from a vehicle’s tires running through it
  5. mud!, part 2: sloppy, mixed with decomposing leaves, covering the walking path
  6. bare, dark brown dirt at the edge of someone’s yard
  7. water gushing down the ravine
  8. less layers = 1 pair of running tights, 1 running shirt, 1 running vest, no gloves, no buff, no winter cap
  9. a quick flash of an earthy smell
  10. puddles — none of them too deep or covering the entire path
  11. a class — elementary school kids? — near the trestle. It’s warm enough for spring field trips!
  12. the walking path — was able to run on more of it, and less of the bike path, today
  13. a runner in shorts

march 13/SWIMRUN

swim: 1.25 miles
ywca pool

I love to swim. Today felt really good, relaxed. I didn’t even care that my latest vision problem happened again. Walking on the pool deck, staring intently at the lanes, trying to see if the lane I’m looking at is as empty as I think it is. I checked at least 3 times, staring at the water. It seemed empty. Then I put my stuff down and was about to get in when I noticed someone in the lane. Very frustrating and unsettling to look closely, for a long time, and still not see what is right there. But really, it’s not that big of a deal. I didn’t jump in on top of anyone or cause a swimmer to mess up their rhythm. I just need to get used to it and accept that it will continue to happen.

Lots of friends in the water with me today: weird white, almost translucent, bits near the bottom, a balled up bandaid in one lane over, and perhaps the most disturbing, a fuzzy brown ball floating halfway up to the surface, slowly making it’s way to below me. Would I accidentally suck it up? Yuck! Must have gotten distracted because I lost track of it.

Noticed the sloshing sound of water as my hands broke the surface.

Everything was blue underwater. Blue tiles, a blue lower-cased t on the wall, blue-tinted water. Dark blue shadows below, cast by the trees outside the window, making the pool floor look alive.

Lots of breaststroke around me, some backstroke, an occasional freestyle. One woman was using a kick board. I used a pull buoy for a set.

run: 3.1 miles
under ford bridge and back
29 degrees
95% clear path

Ran in the afternoon, which is always harder than running in the morning for me. I feel more tired, heavier. My legs don’t want to move as much. No headphones on the way south, Beyoncé’s Renaissance on the way back north. The sky was mostly blue, with a few clusters of clouds. I felt a shadow cross over me as I started my run. Hello bird! I think I looked at the river, and I think it was open. Heard the drumming of a woodpecker. Admired the wide open view near Folwell and the Rachel Dow memorial bench. Now I remember seeing the river! Right there by that bench — brownish-gray and open. Encountered walkers, dogs, a runner with a stroller.

Down below, in a discussion of a gray line in Schuyler’s poem, I wonder if I could write about silver. I noticed it today, out on the trail. The blazing bright reflection off a car’s hood, the sun shining on wet pavement.

Schuyler, Hymn to Life, Page 4

Begins with Bring no pleasure and ends with As one strokes a cat.

And if you thought March was bad
Consider April, early April, wet snow falling into blue squills
That underneath a beech make an illusory lake, a haze of blue
With depth to it.

I love his illusory lake and the haze of blue with depth to it. Squills = a sea onion, a plant in the lily family with slender, strap-like leaves and blue flowers. Until I looked up squills, I didn’t get that the illusory lake was really a cluster of spring flowers. Maybe that’s because April in Minneapolis creates a different kind of fake lake: the giant puddle!

That is like pain, ordinary household pain,
Like piles, or bumping against a hernia.

First reaction: recognition. I am struggling through an extended bout of unexplained constipation that has resulted in piles. Nothing big or overly painful, ordinary, a part of the daily routine. Unsettling. Annoying. A low-lying worry that the ordinary could become something more.

Second reaction: In his episode for VS, Jericho Brown says this:

in any poem, anytime you write something down, one of the things that I’m always doing is I’m trying to make sure it’s opposite soon gets there. Soon as I write something down, I’m like, well, the opposite needs to be there too. The sound opposite, the sense opposite, the image opposite. How do you get the opposites in the poem? Because you want the poem to be like your life.

Jericho Brown VS The Process of Elimination

I’m thinking about how just as the ordinary includes the comfort of the mundane and routine, it includes the discomfort — the steady aches and pains that are nothing special, just always present, a part of the day.

And in the sitting room people sit
And rest their feet and talk of where they’ve been, motels and Monticello,
Dinner in the Fiji Room.

I love this plain, ordinary image of people in a sitting room doing what you do in a sitting room: sitting. There’s something magical about the sitting and talking and not doing anything grander, resting.

Someone forgets a camera. Each day forgetting:
What is there so striking to remember?

Each day forgetting.

The rain stops. April shines,
A Little
Gray descends.
An illuminous penetration of unbright light that seeps and coats
The ragged lawn and spells out bare spots and winter fallen branches.
Yardwork.

What a wonderful description of gray light! It shines a little, an unbright light that seeps and coats and exposes (spells out) the worn spots and the ordinary work needed to be done every spring. Lately, when I think of gray, I think of the opposite — not how it makes everything look shabby, worn, tired, but that it softens everything, making it mysterious and more gentle, relaxed.

It seems like Schuyler could be writing against one classic image of luminous gray light or, it made me think of this at least: the silver lining. Wondering about the origins of the phrase, I looked it up. John Milton’s poem, Comus:

That he, the Supreme good t’ whom all all things ill
are but as slavish officers of vengeance,
Would send a glistring Guardian if need were
To keep my life and homour unassail’d.
Was I deceiv’d, or did a sable cloud
Turn forth her silver lining on the night?
I did not err, there does a sable cloud
Turn forth her silver lining on the night,
And casts a gleam over this tufted Grove.

Thinking about my color poems, and my interest in gray, I wonder how I could write about silver? For me, silver is the color that burns and shines when concentrated on the iced-over river, too bright for my eyes. Silver is also the color of the path when ice is present — it’s a warning sign, a whisper, Watch Out! Slippery.


And now the yardwork is over (it is never over), today’s
Stint anyway. Odd jobs, that stretch ahead, wide and mindless as
Pennsylvania Avenue or the bridge to Arlington, crossed and recrossed

I like wide and mindless, mundane tasks. Well, mostly I do. Tasks that can help me to shift into a different mental space where I wander and day dream. Mowing the lawn, pulling the weeds, doing the dishes.

And there the Lincoln Memorial crumbles. It looks so solid: it won’t
Last. The impermanence of permanence, is that all there is?

I’m reminded of an ED poem with Schuyler’s use of crumbling:

Crumbling is not an instant’s Act (1010)/ EMILY DICKINSON

Crumbling is not an instant’s Act
A fundamental pause
Dilapidation’s processes
Are organized Decays —

‘Tis first a Cobweb on the Soul
A Cuticle of Dust
A Borer in the Axis
An Elemental Rust —

Ruin is formal — Devil’s work
Consecutive and slow —
Fail in an instant, no man did
Slipping — is Crashe’s law —

Crumbling is routine, everyday life. Slow and steady, nothing special, ordinary. Not Ruin.

is that all there is? To look
And see the plane tree.

What an awesome enjambment! Sometimes all we need (or all we have) is that tree outside the window.

For this is spring, this mud and swelling fruit tree buds, furred
On the apple trees. And yet it still might snow: it’s been known

This poem is about D.C.. Here in Minneapolis, it almost always snows — a big storm — in April.

feb 28/RUN

3.2 miles
edmund, south/ edmund, north
36 degrees
75% sloppy puddles

Was planning to run on the trail, but it was a slushy, icy nightmare. Instead I ran on Edmund, which was filled with little lakes. Now my socks are soaked, but that’s okay because it felt like spring out there with the warm sun.

I don’t think I heard any birds. I did hear a guy do a snot rocket (yuck!). And — maybe it was the same guy — someone shuffling and scuffing their feet on the road. Lots of whooshing wheels. Some scraping somewhere. The gush of water rushing down the sewers.

Noticed all the snow piled up at Cooper School. Had to stop there and take a picture of the strange tree that has a utility pole/power line running through the middle of it. Not sure if its strangeness is captured in this photo.

city street with a tree on the left side with a pole growing through it
a strange tree near Cooper School

A good run. My IT band hurts a bit today. Is it time for a few more IT acronyms?

I.T. could mean something/I.T. could mean everything/I.T. could be what Rilke meant when we wrote…

  • I tried
  • Icarus triumphed
  • Isabel theorized
  • implausible trampolines
  • island trombones
  • idiotic television
  • ill-willed tarantulas
  • inflatable tractors
  • ibex traffic
  • icy trails

feb 13/RUN

5.8 miles
franklin loop
39 degrees
25% puddles

More spring-like weather. Above freezing. Sun. The sound of snow melting everywhere, especially under the lake street bridge. I checked and the last time I ran the franklin loop was on December 13th. It’s nice to get this view of the river again.

Felt relaxed. My knees ached a little — not an injury, just grumbling over the month of uneven, icy paths. Speaking of paths, the trail on the east side of the river was rough — ice, deep puddles — between Franklin and the trestle. I had to stop and walk a few times.

10+ Things I Noticed

  1. a V of geese above me. When I first noticed them through my peripheral vision, I thought they were a plane
  2. a white form up in the air. A cloud? No, a plane. It took me a minute to finally see it in my central vision
  3. crossing the Franklin bridge, the river was covered in a steel blue ice
  4. the bridge trail was mostly clear. The part shaded by the railing was not
  5. everywhere the moisture on the path shone so bright that I couldn’t tell if it was only water or slippery ice. (it was mostly water)
  6. crossing under the railroad trestle on the west side, I heard the beep beep beep of the alarm. I wondered if a train was coming. (I never saw or heard one)
  7. heard some bike wheels behind me, then voices calling out Ice! I moved over and stopped to let them pass, then watched as they slowly navigated the ice on their thin wheels
  8. lots of whooshing wheels and noises that sounded like sploosh! as cars drove through the puddles collecting on the edge of the road
  9. a favorite late fall spot: right before the meeker dam, there’s an opening in the trees and a clear, broad view of the river and the other side
  10. the river down below the trestle on the east side looked like an otherwordly wasteland. Brown, riddled with broken up ice
  11. crossing back over the lake street bridge from east to west, the river looked like an ice rink that had been skated on for too long and needed a Zamboni
  12. running down the hill from the bridge to the path, a woman crossing the river road called out, Oh! As I neared her, I stopped and she said, It’s slippery!

When I stopped running to walk up the lake street bridge steps, I could hear and see the water gushing down through the pipe under the bridge. I had to stop and record it.

feb 13, 2023 / gushing water

Here’s my Pastan poem for the day. I found it before I went out for my run. My goal was to try and listen for voices out there by the gorge, and I did, somewhat. The woman who cried out when she almost slipped. 2 women walking on the bridge above, when I was below. The biker calling out Ice! A tree, its dead leaves rustling in the breeze. The soft not quite gushing of the limestone seeping melting snow. The drip drip drip of water off the bridge.

For Miriam, Who Hears Voices/ Linda Pastan

If the voices are there
you can’t ignore them,
whether they come up through the floorboard
on a conduit of music
or in a rattle of words that make sounds
but no sense.

They can be messages from the sky
in the form of rain at the window, or in the cold
silent statements of snow.
Sometimes it’s the dead talking,
and there is comfort in that

like listening to your parents in the next room,
and perhaps it’s the same parents still talking
years after they’ve gone.

If you’re lucky, the vowels
you hear are shaped like sleep–
simple cries from the thicket
of your dreams. You lie in bed.
If the voices are there, you listen.

I am always looking for poems about love (not necessarily “love” poems). This one popped up on my twitter feed this morning. As a bonus, it’s about winter and fits with my theme of layers for next week AND it has wild turkeys in it!

How to Love/ January Gil O’Neil

After stepping into the world again,
there is that question of how to love, 
how to bundle yourself against the frosted morning—
the crunch of icy grass underfoot, the scrape 
of cold wipers along the windshield—
and convert time into distance. 

What song to sing down an empty road
as you begin your morning commute?
And is there enough in you to see, really see, 
the three wild turkeys crossing the street 
with their featherless heads and stilt-like legs
in search of a morning meal? Nothing to do 
but hunker down, wait for them to safely cross. 

As they amble away, you wonder if they want 
to be startled back into this world. Maybe you do, too, 
waiting for all this to give way to love itself, 
to look into the eyes of another and feel something— 
the pleasure of a new lover in the unbroken night, 
your wings folded around him, on the other side 
of this ragged January, as if a long sleep has ended.

As a bonus, this poem also has another thing I’m always trying to find: a reference to the idea of looking into someone’s eyes and really seeing them as (one of) the key metaphors for being fully human. I’m collecting these examples because they bother me. With my failing central vision, I can’t really look into a person’s eyes and see them. Does this mean I can’t be fully human?

feb 11/RUN

5 miles
bottom of franklin hill turn around
35 degrees
5% snow-covered / 40% puddles

Above freezing with a mostly clear path. Lots of puddles. Lots of sun. Several shadows. Right before I started my run the shadow of a big bird passed over me. Later, running on the trail, I saw my shadow running in front of me. The view of the river and the gorge was bright and open and brown. Smelled breakfast at the Longfellow Grill, some pot from one passing car, cigar smoke from another. Felt the grit under my feet. Noticed the curve of a pine tree, with branches only on one side. I thought: a curved spine, the branches vertebrae.

Here’s my Pastan poem for today:

Squint/ Linda Pastan

and that low line
of blue cloud
hovering
over the treetops

could be an ocean–the roar
of the highway
the clamorous waves
breaking.

And that dark shape menacing
your every footstep
could be no more
than your own obedient shadow.

See whatever you want
to see. Even
at the moment of death
forget the door

opening on darkness.
See instead the familiar faces
you thought were lost.

See whatever you want/to see. This makes me think of the video interview I watched with Kelli Russell Agodon yesterday, when she discusses being oriented towards beauty, only seeing the beauty, ignoring the ugliness. The title Squint makes me think of a lecture I saw online about how painters often squint to see how to paint the depth and texture of objects.

It’s interesting to juxtapose this poem and its turn away from the darkness of death with some of the passages below from Pastan’s interviews in which she talks about how she’s always looking for the danger beneath the surface.

some words from Linda Pastan

You open “The Poets” with the line “They are farmers, really.”

That was partly tongue in cheek, partly serious. For me, there are two distinct phases in the writing of a poem—first the inspiration phase, when language and metaphor come mysteriously into my head, then the planting, sowing, farming phase, otherwise known as revision. The first is a kind of gift, as in “gifted”—it can’t be taught. The second is a matter of learning and practicing one’s craft. But it’s also true that I couldn’t resist having poems planted in manure-filled rows and having poets eyeing each other over bushel baskets in the marketplace.

The last two lines of my poem “Vermilion” are “As if revision were / the purest form of love.” And I believe that for a poet it is. Many of my poems go through at least a hundred revisions—I can spend a whole morning putting in a comma and then taking it out and putting it back in. And I think that perhaps I am at my happiest sitting at my desk polishing a poem, trying to make every word the perfect word.

—

I am indeed interested, you might say obsessed, not with ordinary life per se but with the dangers lurking just beneath its seemingly placid surface, one of those dangers being loss itself. Death, of course, is the ultimate danger, the ultimate loss, and as I move closer to it, I write about it more frequently and perhaps more feelingly. Though I recently came upon some poems I wrote when I was twelve, and they, too, are about death.

The Looming Dark: An Interview with Linda Pastan

a popular story about her:

There’s a popular story about Linda Pastan: she won her first poetry prize as a senior at Radcliffe in the fifties, and the runner-up was one Sylvia Plath. It was an auspicious start for Pastan, even if she had never heard of Plath at the time. 

a blogger’s explanation of why she likes Pastan:

What do I like about Pastan’s work? Her clarity in brevity, the conciseness of her description that makes each word she uses necessary, her way of writing about what surrounds her with the understanding that surfaces mask tensions and the darker things below; her down-to-earth voice that makes her writing so accessible; the images that stick with you; the intimacy she has with her subjects: relationships, domestic tableau, aging, dying—the things we all struggle with, for, and against.

Poet: Linda Pastan

and Pastan’s description of the dangers always lurking below the surface:

JEFFREY BROWN:We’re sitting here on a beautiful day in a beautiful place, but you feel dangers lurking?

LINDA PASTAN:Always, yes, yes. I feel the cells starting to multiply someplace inside me. I feel when the phone rings, is somebody calling to say something terrible has happened. I’ve just always been very conscious of the fragility of life and relationships.

Linda Pastan: PBS Newshour