Tag: Alice Oswald

march 14/RUN

4 miles
beyond the trestle turn around
50 degrees

Another 50 degree day! The right number of layers: black shorts, blue t-shirt, orange sweatshirt. Some wind, but not too much. Noticed (probably not for the first time) that they removed the porta potty by the 35th street parking lot. Why? There aren’t any porta potties — for runners or bikers or anyone who needs one — on the Minneapolis side between ford and franklin. Did they remove the one near Annie Young Meadow too? I’ll have to check next time I run down into the flats.

A good run. More soft shadows, other runners, one walker in a bright orange sweatshirt — just like me.

Near the beginning thought about the ringing of a bell as the signal of a ceremony starting. Then ED’s lines popped into my head: As all the Heavens were a Bell/And being, but an Ear — In the earlier versions of my Haunts poem, I begin with a bell. I could return to that, or maybe that is the start of another poem?

I ran north without headphones. I can’t remember what I heard. Running south I put in my Windows playlist.

After I finished my run, I listened to a podcast about perimenopause as I walked home. On this log over the past seven years, I’ve mentioned moments of increased anxiety and ongoing constipation. Present Sara (me) really appreciates that past Sara documented these. It’s helping me to understand my body better as I move into perimenopause. Last week, I discovered a great podcast about perimenopause, menopause, and beyond for active women (runners, ultra runners, cyclists, etc) called: Hit Play Not Pause. So far, I’m on my second episode — the first one was about anxiety, this one is about symptoms of perimenopause other than loss of a regular period. So helpful, especially since it seems there’s so little known about perimenopause!

Lorine Niedecker and Lake Superior

I’ve decided I’d like to do a line-by-line read through of Lorine Niedecker’s “Lake Superior.” Such a good poem, one that I appreciate more as I give more attention to poetry and the gorge.

Iron the common element of earth
in rocks and freighters

Sault Sainte Marie—big boats
coal-black and iron-ore-red
topped with what white castlework

The waters working together
internationally
Gulls playing both sides

This is the second verse? section? fragment? of the poem, with some blank space and an asterisk dividing each short section. I’ll get back to the first section a little later.

coal-black and iron-ore-red — I’d like to put some more color, my versions of color, into my lines — topped with what white castlework — I think I’m being dense, but what does she mean here? Like, (oh) what white castlework!

the waters working together — between Lake Superior, Lake Michigan, and Lake Huron — internationally — Canada and the US

Gulls playing both sides — I love how she phrases this with such brevity, the idea of gulls not being subject to the lines/border humans have created. Reading through her notes for this poem, she writes about having to wait in Sault Ste. Marie, Canada until the banks opened in order to exchange money. Was she envious of the gulls who could freely travel between Canada and the US?

opening lines: Yesterday I posted the opening line of “Lake Superior.” Here’s the whole first section:

In every part of every living thing
is stuff that once was rock

In blood the minerals
of the rock

Two other sources of inspiration for my place-based poem are Alice Oswald’s Dart and Susan Tichy’s North | Rock| Edge. Here are their opening lines:

Dart/ Alice Oswald

Who’s this moving alive over the moor?

An old man seeking and finding a difficulty.

North | Rock | Edge/ Susan Tichy

If you can, haul-to within

the terms of anguish :

this rough coast a gate

not map, no compass rose

sketched in a notebook

with certain positions

of uncertain objects

marked—

Reviewing the three sets of lines, I’m noticing how they move differently. LN offers brief, ordered chunks — little rocks? — that you travel between, while AO’s words wander and run into each other. Sometimes she has sentences, sometimes fragments — it flows like a river? ST shares similarities with AO, in terms of wandering and not stopping, but each word almost seems to have equal weight — is that the right way to put it?

In terms of distance, LN is far away, abstract; MO is closer, as we observe a man near the Dart; and with ST, we are right there, on the edge of the rock, moving beside the sea.

Is this helpful to me? To read these three poems closely and together? I’m not sure. Perhaps I should return to LN first. For today, just one more “chunk”:

Radisson:
“a laborinth of pleasure”
this world of the Lake

Long hair, long gun

Fingernails pulled out
by Mohawks

I like how LN weaves in some of the “facts” that she discovered in her research — almost like notes, but carefully selected for effect. I think the contrast between Radisson’s pleasure comment and his fingernails being pulled out says a lot. How can I weave in facts? Do I want to?

The poem “Lake Superior” is in two books that I own: Lorine Niedecker Collected Works and Lake Superior. Lake Superior includes a journal with LN’s notes and some critical essays by others. It’s fascinating to read how she transformed her journal notes into these brief lines.

june 22/RUNSWIM

3.15 miles
2 trails
77 degrees
dew point: 61

So warm! Still glad I went out for a run, but it was hard. My knees are sore, my legs sluggish. Heard lots of birds, a roller skier’s clicking poles, talk radio blasting from someone’s car, faint voices from below, water trickling out of a sewer pipe. Encountered bugs — mosquitos? gnats? — near the ravine. Passed by a person on the folwell bench, reading. Was greeted by one walker: good morning! As I ran on the Winchell trail I thought about the importance of giving some gesture — a greeting, eye contact, a stepping over to make room — when nearing another person. Without it, you’re saying to them, to me you don’t exist.

When I finished my run, I pulled out my phone and recited Alice Oswald’s “A Short Story of Falling.” Only two mistakes: I gave it the wrong title and I said “in a seed head” instead of “on a seed head.”

“A Short Story of Falling” / 22 june 2023

wordle challenge

Bad luck with the wordle today. I almost had it in 3, but I had too many choices that could be correct. I had 4 tries but at least 5 options.

6 failed tries: slant / dates / waste/ haste / paste / baste
TASTE

Even though I failed the challenge, I decided to do something with words: find connections to Emily Dickinson!

slant: Tell all the truth but tell it Slant

dates: I do not know the date of mine/ It feels so old a pain

waste: Just Infinites of Nought/As far as it could see/So looked the face I looked upon/ So looked itself on Me (Like Eyes That Looked on Wastes)

haste: We slowly drove—He knew no haste (Because I could not stop for Death)

paste: We play at Paste/ Till qualified, for pearl (We play at paste)

baste and taste:
Now You Too Can Bake Like Emily Dickinson
Emily Dickinson: A Poet in the Kitchen

swim: 4 loops
lake nokomis open swim
89 degrees

At the end of the swim another swimmer called out, these conditions are the best! (or something like that; I can’t quite remember). I agreed. Calm, pleasingly warm water, well-placed buoys. I could barely see the buoys, but I still swam to them without a problem. Lots of swans in the water, a few menacing sailboat — one with a bright orange and red sail.

I swam for a loop and a half then briefly stopped at the little beach for a quick rest. Swam another loop and a half and stopped at the big beach. Got out to go the bathroom, then one more loop. Taking a 5 or so minute break between loops 3 and 4 really helped. I should remember to do that more often.

I’m writing this swim summary the next morning. Can I remember 10 things?

10 Things

  1. at least one plane
  2. half a dozen swan boats lurking at the edges
  3. one swan stuck in the dead zone between buoys
  4. streaks below me — fish?
  5. irritating swimmers: 2 fast women that kept swimming past me, then stopping to get their bearings, then swimming again. With my slower, steadier stroke, I kept getting passed by them, then passing them when they stopped, then getting passed by them again when they restarted their swim
  6. both the orange and green buoys closest to the beaches (orange to the little beach, green to the big) were not that close to the shore
  7. no waves
  8. no ducks
  9. breathed every 5 strokes, sometimes every three, once or twice every six
  10. hardly ever saw one of my landmarks from the past few years: the overturned boat at the little beach

june 21/RUNSWIM

3.25 miles
2 trails
69 degrees

Ran earlier today, at 7:15. A little cooler, quieter. For the first few minutes, I recited Alice Oswald’s “A Short Story of Falling” which I memorized yesterday. Ran south on the grassy boulevard between edmund and the river road. Crossed over at Becketwood, then ran down to the southern entrance of the Winchell Trail.

Listened to the gentle whooshing of car wheels. the clicking and clacking of ski poles, and birds for most of the run. Put in a Bruno Mars playlist for the last mile.

After I finished my run, I recited Alice Oswald’s “A Short Story of Falling” into my phone. Only messed up one line (I think).

10 Things

  1. click clack click clack
  2. the rambling root spread across the dirt trail
  3. the steady dripping — more than a trickle, less than a rush — of the water falling from the sewer pipe
  4. the soft (not mushy) blanket of dead leaves on the winchell trail
  5. the sharp sparkle of the light on the water
  6. shhhhhh — the wind passing through the leaves on the trees
  7. the soft roar of the city underneath everything
  8. the leaning branches have been removed — thanks Minneapolis Parks People!
  9. an almost exchange of the You and I — me: right behind you, excuse me an older woman with a dog: mmhmm
  10. no bugs, no gnats, no geese

wordle challenge

3 tries: front / brine / crane

front runt stunt blunt hunt shunt grunt redundant
brine sign fine line shine dine design unwind spine twine
crane explain refrain detain rain insane

front

frontispiece:

1

a: the principal front of a building
b: a decorated pediment over a portico or window

2

: an illustration preceding and usually facing the title page of a book or magazine

brine

Cliché/ V. Penelope Pelizzon

Its back and forth, ad nauseum,
ought to make the sea a bore. But walks along the shore
cure me. Salt wind’s the best solution for
dissolving my ennui in,
along with these protean
sadnesses that sometimes swim
invisibly
as comb-jelly
a glass or two of wine below my surface.
Some regrets
won’t untangle. Others loosen as I watch the waves
spreading their torn nets
of foam along the sand
to dry. I walk and walk and walk and walk, letting their haul
absorb me. One seal’s hull
scuttled to bone staves
gulls scream
wheeling above. And here… small, diabolical,
a skate’s egg case,
its horned purse nested on pods of bladderwort
that still squirt
BRINE by the eyeful. Some oily slabs of whale skin, or
—no, just an
edge of tire
flensed from a commoner leviathan.
Everywhere, plastic nurdles gleam
like pearls or caviar
for the avian gourmand
and bits of sponge dab the wounded wrack-line,
dried to froths of air
smelling of iodine.
Hours blow off down the beach like spindrift,
leaving me with an immense
less-solipsistic sense
of ruin, and, as if
it’s a gift, assurance
of ruin’s recurrence.

crane

“The Crane Wife” parts 1, 2, and 3 from the Decemberists

swim: 1 small loop (1/2 big loop)
cedar lake open swim
88 degrees

First open swim with FWA at cedar lake! A great night for it: calm, clear, not too crowded. The buoys were up tonight. Hooray!

june 20/BIKESWIMBIKE

bike: 8.5 miles
lake nokomis and back
88 degrees

Yay for being able to bike without fear! The ride was hot but was fine. The key: don’t bike too fast. I noticed: no progress on the duck bridge that was removed a few months ago for repairs; hot pink tape or paint or something marking the cracks in the trail — the pink was very easy for me to see…nice! and a dude in an e-bike with a kid going way faster than the 10 mph speed limit.

swim: 3 loops (2.25 miles)
88 degrees
choppy

3 slightly choppy loops today. Definitely more difficult with the choppy water — how choppy was it? Not really that bad (compared to real chop in the ocean or a big lake), but it still made it harder to breathe. Saw 2 or 3 planes, some random woman floating in an inner tube in the middle of the lake (almost ran into her). Raced a swan boat, dodged flailing kids at the beach and breaststrokers mid-lake. Again this year, breaststrokers are my nemesis. Couldn’t see the green buoys at all; I used the glowing rooftop at the big beach as my guide. I couldn’t even see the green buoys when I was 20 feet away from them because of the bright sun. Didn’t bother me at all. I just kept swimming, only stopping to adjust my goggles and make sure my stiff left knee was okay. For just a flash, I thought about Tony Hoagland’s poem (below) and the way water speaks. I thought about how, because I’m in the water and not standing on the shore, I can listen and understand (at least a little).

wordle challenge

3 tries:

water / inert / frost

a winter morning

water inert
frosted glass
slicked up streets
endless and empty

water inert on morning window: frost

a description by Alice Oswald in her reading of “A Short Story of Falling” that I listened to this morning as I memorized her beautiful poem:

What I love about water is that it spends its whole time falling. It’s always, apparently, trying to find the lowest place possible, and when it finds the lowest place possible, it lies there wide awake.

Alice Oswald

Water is never inert
always falling searching
for somewhere else to be
even in rest
as frost on winter’s window
it watches waits wants
to find the floor

The Social Life of Water/ Tony Hoaglund

All water is a part of other water
Cloud talks to lake; mist
speaks quietly to creek.

Lake says something back to cloud,
and cloud listens.
No water is lonely water.

All water is a part of other water.
River rushes to reunite with ocean;
tree drinks rain and sweats out dew;
dew takes elevator into cloud;
cloud marries puddle;

puddle

has long conversation with lake about fjord;
fog sneaks up and murmurs insinuations to swamp;
swamp makes needs known to marshland.

Thunderstorm throws itself on estuary;
waterspout laughs at joke of frog pond.
All water understands.

All water understands.
Reservervoir gathers information
for database of watershed.
Brook translates lake to waterfall.
Tide wrinkles its green forehead and then breaks through.
All water understands.

But you, you stand on the shore
of blue Lake Kieve in the evening
and listen, grieving
as something stirs and turns within you.

Not knowing why you linger in the dark.
Not able even to guess
from what you are excluded.

june 2/RUN

6 miles
bottom franklin hill and back
76 degrees / dew point: 64

Hot! I much prefer running in the cold to running in the heat. Still, today is my 12 year anniversary — my runniversary — and I had to get out there to celebrate it. 12 years ago today I went out for my first couch to 5K run.

Was able to say good morning to Mr. Morning! Noticed the river. Higher above, it burned white through the trees. Down below in the flats, it looked stagnant and brown and not refreshing at all. Heard some birds and a woman saying to her friend, during times of war they…, as I ran past. Smiled and waved at many walkers and runners. Thought I heard the rowers but I was wrong. Wondered if the roller skier I passed as I ran down the hill and she skated up it was using poles — I couldn’t tell because we were both moving too fast. Watched the red flash flash flash of a bike’s back light disappear into the distance. Felt the sweat dripping and trickling and seeping out of my skin.

Listened to the birds and the cars as I ran north. Recorded some thoughts into my phone as I walked up the hill. Put in a playlist — bday 2018 — as I ran back south.

Be Water My Friend

It’s the beginning of the month; time for a new challenge. For June 2023, more on water. I’d like to read Alice Oswald’s Nobody, but I need to read The Odyssey first. I started yesterday. I love Emily Wilson’s recent translation. Very fun. Anyway, I’ll finish The Odyssey, then read Oswald’s take on it in Nobody. At the same time, I’m thinking of reviewing some water poems I’ve already collected — maybe memorizing a few, then using them for inspiration. Maybe I’ll even do another cento? Today I started with Oswald’s Evaporations, partly because it came up as a poem I posted on june 2, 2021. I also watched a clip of Bruce Lee’s Be Water My Friend.

Empty your mind. Be
formless shapeless like
water now you
put water into a cup
it becomes the cup
you put water into a bottle
it becomes the bottle
you put it into a tea pot
it becomes the tea pot
now water can flow or
it can craaaaasshh
be water my friend

before the run

As I ran I hoped to think about water subjectivities and what it is to be water . I think this was also inspired by a quote from Oswald that I re-read yesterday:

I sometimes wonder whether I’m a very keen swimmer, and whether for me, poetry is equivalent to swimming. I’ve often noticed when I swim, the strangeness of the way the body literally turns into a fish, but the head remains human and rather cold, and looking around at this strange flat reflective surface. I’m often very piercingly aware of the difference between my head and my body when I’m swimming because I’m not necessarily someone who goes underwater, I love swimming along the surface of rivers. Perhaps, my poems do feel a need to convey that continued separation of the head remaining human and the body becoming animal, or plant, or mineral, or whatever it can be. In some way, I suppose I’m trying to find rhythms that will heal that divide.

*

I think that’s exactly it, that we seem to exist as bodies and minds. That’s always slightly troubled me that I can’t quite make them be the same thing. I always have two narratives going on and it’s extraordinary the way the mind is floating around seemingly quite untethered and yet the body has all these laws like gravity, and limit, and size, and hunger, that it’s obeying. How those two interact and how they come to define what it is to be human is again—I’m wary of using the verb think because I don’t think poetry is necessarily about thinking—but it gets hold of questions, and reveals them as questions, and then reveals what’s underneath them, and then what’s underneath that. I suppose each book tries to peel away a layer of that problem and present it again.

Between the Covers interview with Alice Oswald

during the run

Halfway through the run, I stopped to record my thoughts by speaking into my smart phone: Almost 3.5 miles in, just walking back up the franklin hill on a super hot, humid day. Before I started running, I was thinking about water and I read and then listened to Alice Oswald’s “Evaporations” and Bruce Lee’s “Be Water My Friend.” So I was thinking about how there’s a line in the Alice Oswald about how water prefers to be disorderly and slapdash —

 I notice
The Water doesn’t like it so orderly
What Water admires
Is the slapstick rush of things melting

I was thinking of this dog bark I heard across the road on Seabury and my thought was that this bark was slapdash. Then I was thinking of Bruce Lee’s “Be Water” and how I feel even more like water right now because I’m not just damp, I’m dripping sweat in this humidity. And I’m not sure why this happened but I started to think about — oh, I was thinking about how I had locked into this rhythm and I could really feel it in my glutes, which is great because I think that’s what you ideally want, and I was feeling that I was in a steady rhythm, not really thinking, more animal, and then I thought about how it feels more like a machine to me (than an animal). Then I was thinking about how when machines are being designed/engineered, they look to the bio-mechanics of various animals. Machines are really animals with a very strict routine. Animals and machines and Donna Haraway and cyborgs — the idea of us being both machines and animals. What part of us is the I, the animal, the machine, the — ?

[a few minutes later] I almost forgot, when I turned around at the 3 mile point and went on the lower trail right by the river, the river looked very still and un-refreshing. I looked at it, and because it was so still, the clouds were reflected in it, and I thought about Huidobro’s line, 8 glances to turn the sea into sky. I thought what I was doing was turning the river into sky….And now I’m thinking about these different subjectivities we inhabit — the I, the animal, the machine — when you recognize that you’re all of those things, that doesn’t mean you are free from subjectivity and your specific historical, material location; it just means that you’ve eliminated division, you’re immersed in the water where it’s all together. It all is entangled — a better word? [thinking of Ross Gay here]

after my run

A lot of thoughts on water and subjectivity and the I/animal/machine are reoccurring ideas that I’ve been writing about/wrestling with for years. I think it was last year that I started to imagine myself as less of a fish in the water, more of a boat. What does it look like, how might it feel to be all of these things — water, boat, fish, human/brain?

note: I added the second part of Evaporations to my list of poems to memorize.

A few days ago, I found some summer heat poems on the NYTimes Book Review. I thought I saved the link, but now I can’t find it. My favorite was this one:

Summer Studies/ Tony Hoagland

When Ellen told Mary about the secret lake
she swore her to silence

but Mary invited Jerome
who couldn’t even swim and Luanne

came with him and it was funny that summer
the way that scarce resources

collided with the whole system
of who was cool, or not

the old rule being that who was cool
would get to stay that way

by jumping into the lake
and who was not would have to stay

hot and dirty
by simple omission of information.

But that dry summer the rumors spread:
someone was giving out maps, someone

was giving tutorials in every twist and
bobby-pin turn

you had to take in the red dirt road
that got you there.

When you got near you could hear
through the trees

splashes and cries of people who
might not even be friends.

And the clear water, like the social milieu that summer
was quite frankly stirred up, confused

thanks to the leaky lips, Ellen said,
of certain persons

who would let anyone in.

august 9/RUNSWIM

run: 3.1 miles
2 trails
73 degrees
10:00 am

I recorded some notes by speaking into my phone after I finished the run. Warmer today. Ran mostly in the shade. Ran the 2 trails. Saw a firetruck — well, I heard its siren first — as I approached 42nd st. I wondered why rescue workers were here. Were they going down to the river to rescue someone? To recover a dead body? I never found out.

a thought about water: It’s nice to run beside or above or around water. It’s even nicer to be on water — in a boat, on a raft. But it’s nicest yet to be in water. Swimming, immersed. What a transformation it makes to be in water, the intensity of feeling about a space when you’re in it.

idea for a lecture for my podcast: I’d talk about these various ways that runners and writers try to hold onto thoughts while they are moving and the idea of thoughts and what happens to them while you’re moving. A lot of poems, possibly multiple lectures about this topic. At the end of the lecture, I could offer a few activities that I do to hold onto thoughts.

image: I had to stop and walk because a big tree had fallen over the lower trail. It was high enough that I could duck under it easily, but too low to do that quickly. It was forked with 2 branches, leaning from above, propped up by the fence. No leaves, just bark. It looked dead.

Returning to my idea for a lecture, or a series of lectures, on thoughts, I read some great lines from Alice Oswald in Nobody yesterday that involve thoughts and where they travel:

from Nobody/ Alice Oswald

As the mind flutters in a man who has travelled widely
and his quick-winged eyes land everywhere
I wish I was there or there he thinks and his mind

immediately

as if passing its beam through cables
flashes through all that water and lands
less than a second later on the horizon
and someone with a telescope can see his tiny thought-form
floating on the sea-surface wondering what next

swim: 3 loops
lake nokomis open swim
85 degrees
5:30 pm

Warm and crowded tonight. Lots of people on the beach, lots of boats in the water. A paddleboard and a group of kayaks paddling right through the swimming area. A menancing swan boat. This barely bothered me. What do I remember about the water? Heard some loud sloshing noises. Saw a lot of planes flying above me. Something hard bumped into me — not a person, also probably not a fish. A stick? The sun was blinding and it was impossible to see anything on the way back — no sighting the buoy or the beach. I breathed every 5 or 3 or 4. Felt strong and fast (even though I went the same speed I always do, about 1:45-1:50 per 100 yds).

april 17/RUN

1.5 miles
winchell trail, south/42nd st east/edmund, north
41 degrees

Headed to the gorge with Scott this morning — a quick run above the river. I know I looked at the river, but I can’t remember much about it. Most likely, with this gloomy sky, it was a brownish-gray or grayish-brown with no sparkle. We talked a lot about Lizzo and what a great job she did on SNL last night, both as the host and the musical guest. The only other thing I remember right now is running the opposite way on the Winchell Trail (usually I run north on it) and noticing how much longer the Folwell hill was this way. The other way it’s steep but short, this way it’s slightly less steep, but winding (or wind-y?) and long.

before the run

Yesterday I suggested that my next dirt topic should be gardens/gardening. Here are a few ideas:

1 — tune my body and my brain

My exploration of dirt began when I started thinking about the phrase from a kids’ song, or a song often sung to or by kids: “the worms crawl in, the worms crawl out.” Here’s another kids’ song that doesn’t have the word dirt in it, but is about dirt and death and life and gardens. Both my kids sang it in elementary school concerts:

Here are a few verses:

Inch by inch, row by row
Gonna make this garden grow
All it takes is a rake and a hoe
And a piece of fertile ground

Inch by inch, row by row
Someone bless these seeds I sow
Someone warm them from below
Till the rain comes tumblin’ down

Pullin’ weeds and pickin’ stones
Man is made of dreams and bones
Feel the need to grow my own
‘Cause the time is close at hand

Rainful rain, sun and rain
Find my way in nature’s chain
Tune my body and my brain
To the music from the land

2 — Alice Oswald and “echo-poetics”

It is perhaps this blending of the ecological sensibilities learned through gardening with those of the poet that makes reading Oswald’s editorial and poetic work so compelling, and not only for the many pleasures it brings. It also offers an acoustically informed aesthetic, a way of re-tuning how we think about and make beauty and meaning in verbal forms, especially those inspired by the earth’s processes, things, places. Principled with the desire to bring living things unmediated into text, Oswald’s writings illustrate a heightened and recursive sensitivity to the acoustics of environment, with the ear, of course, in its critical role as converter of signals. They recognize sound as summons, access, and mode. They value gardening (and other physical work) for the ways it creates possibilities for encounter by situating the body in motion and out-of-doors. They invite and invent expressive forms that are organic to these encounters, or that modify existing forms so they are apt and up to the task. They reveal a rootedness in rhythm, syncopation, harmony, or some other musicality within the external world. They practice acute hearing and engage in humble, patient, and empathie listening. They gesture toward the sonic rounding out of envi-ronments and their many natural, social and cultural complexities. And they practice accretion as a writer’s technique inspired by a natural process. Thus Oswald begins to define what I might term an “echo-poetics.”

Voice(s) of the Poet-Gardener: Alice Oswald and the Poetry of Acoustic Encounter/ Mary Pinard

3 — digging work

It’s certainly true that when you’re digging you become bodily implicated in the ground’s world, thought and earth continually passing through each other. You smell it, you feel its strength under your boot, you move alongside it for maybe eight hours and your spade’s language (it speaks in short lines of trochees and dactyls: sscrunch turn slot slot, sscrunch turn slot slot) creeps and changes at the same pace as the soil. You can’t help being critical of any account of mud that is based on mere glimpsing.

“The Universe in time of rain makes the world alive with noise” / Alice Oswald

Digging/ Seamus Heaney

Between my finger and my thumb   
The squat pen rests; snug as a gun.

Under my window, a clean rasping sound   
When the spade sinks into gravelly ground:   
My father, digging. I look down

Till his straining rump among the flowerbeds   
Bends low, comes up twenty years away   
Stooping in rhythm through potato drills   
Where he was digging.

The coarse boot nestled on the lug, the shaft   
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.

By God, the old man could handle a spade.   
Just like his old man.

My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.

The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.

Between my finger and my thumb
The squat pen rests.
I’ll dig with it.

4 — listening work

People often ask me what I like best about gardening. . . . The truth is it’s the sound. I don’t know anything lovelier than those free shocks of sound happening against the backsound of your heartbeat. Machinery, spade-scrapes, birdsong, gravel, rain on polythene, macks moving, aeroplanes, seeds kept in paper, potatoes coming out of boxes, high small leaves or large head-height leaves being shaken, frost on grass, strimmers, hoses . . .

“The Universe in time of rain makes the world alive with noise”/ Alice Oswald

Poems are written in the sound house of a whole body, not just with the hands. So before writing, I always spend a certain amount of time pre- paring my listening. I might take a day or sometimes as much as a month picking up the rhythms I find, either in other poems or in the world around me. I map them into myself by tapping my feet or punch- ing the air and when my whole being feels like a musical score, I see what glimpses, noises, smells, I see if any creature or feeling comes to live there. Then, before putting pen to paper, I ask myself, “Am I lis- tening? Am I listening with a soft, slow listening that will not obliter- ate the speaker?” And if, for example, I want to write a poem about water, I try to listen so hard that my voice disappears and I speak water.

“Poetry for Beginners” for the BBC’s Get Writing/ Alice Oswald

5 — In Search of our Mother’s Gardens*

*a reference to the powerful essay by Alice Walker, “In Search of Our Mother’s Gardens,” that I often taught in my Fem Theory classes.

things to think about while running:

  • How can I “tune my body and brain to the music of the land”?
  • What is digging work? Where can/do we do digging work?
  • What are the sounds of my backyard garden?
  • What can I plant in my garden this year?
  • Why do I love doing physical, outdoor work? How is digging/gardening/weeding work different from listening/noticing/caring/writing work? How is it similar?

during the run

Ran with Scott, and we didn’t talk about gardens or digging until the end, when I mentioned gardening, digging, and the digital story about my mom. He suggested that I look up the lyrics for Peter Gabriel’s “Digging in the Dirt.”

after the run

Here are a few lyrics from Gabriel’s “Digging in the Dirt”:

Digging in the dirt
Stay with me, I need support
I’m digging in the dirt
To find the places I got hurt
Open up the places I got hurt

The more I look, the more I find
As I close on in, I get so blind
I feel it in my head, I feel it in my toes
I feel it in my sex, that’s the place it goes

This time you’ve gone too far
This time you’ve gone too far
This time you’ve gone too far
I told you, I told you, I told you, I told you
This time you’ve gone too far
This time you’ve gone too far
This time you’ve gone too far
I told you, I told you, I told you, I told you

And the refrain at the end, repeated several times:

Digging in the dirt
To find the places we got hurt

And here’s the video, which I can’t embed). Wow, the imagery in this fits with so many things I’ve been discussing! Worms, digging as excavating deeper truths (I think I’ve mentioned this before), death, dust, grass, pebbles, sand, rocks, mushrooms speaking! (in the video they spell out “help”).

video: Digging in the Dirt/ Peter Gabriel

addendum, 18 april 2022: almost forgot to add this image from my notes for my memoir (still in progress) about my student and teaching life”

planting a seed, lower right

Instead of cropping out the key part — the picture of a plant growing inside a head in the lower right with the text, “planting a seed” — I decided to post the entire image. When I taught feminist and queer classes a decade ago, my aim was to plant seeds. Not to force ideas on students or to expect instant results — where they could immediately “get” something or be transformed, but to introduce ideas and offer up invitations that might, in the future, lead to transformation and deeper understandings.

april 11/RUN

4.8 miles
Veterans’ Home loop
49 degrees

A wonderful morning for a run. Sunny, warm, mostly calm, not too crowded. Saw Dave the Daily Walker at the start of my run. “Good morning Dave!” Ran south. Noticed the river a few times, sparkling in the sun. Heard lots of woodpeckers. The falls and creek were rolling along. I heard Minnehaha as I ran above it, over to the Veterans’ Home.

My favorite sound was the unexpected duet between a roller skier’s clicking and clacking poles and the sharp steady beak of a woodpecker. My second favorite sound was the way water gurgled and gushed in spurts out of the sewer pipe below the 44th street parking lot.

before the run

today’s theme for dirt: gravel, rubbled asphalt.

1 — definitions of gravel

Here are a few definitions from the online OED:

gravel (n): a material consisting of coarse sand and water-worn stones of various sizes, often with a slight intermixture of clay, much used for laying roads and paths. 

gravel (v): 4. To set fast, confound, embarrass, non-plus, perplex, puzzle; and 5. of a question, difficulty, practice, subject of discussion, etc.: To prove embarrassing to; to confound, perplex, puzzle. Also U.S. To irritate, to ‘go against the grain with’.

2 — gravel in the gorge

Looked up gravel in the Gorge Management plan from an extensive study in 2002, and found out this about what I’m above near the start of my run:

Sandberg Loamy Coarse Sand is found within the savanna areas near the end of 36th Street and sloping areas to the north. Depth to bedrock is generally more than 60 inches and the soil is excessively drained. The soil has an available water capacity to a depth of 60 inches and an organic content in the upper 10 inches of 2%. A typical profile is as follows:A — 0 to11 inches; loamy coarse sand
Bw —11 to 27 inches; coarse sand
C — 27 to 80 inches; gravelly coarse sand.

3 — gritty gravel

I like the grit of gravel under my feet as I run. I’ve written about it a lot: the sibilant sound, the soft slippery slide when I run over it.

4 — dirt and gravel words

Had a vague recollection of posting a tweet that talked about words that were like gravel. It took me several minutes to find it, but I finally did! It’s from a log entry on august 21, 2020:

 I’ve been thinking about how useful and wonderful it is to record myself reciting a poem and then listening back to the words, which are often correct but sometimes wrong in unexpected ways. I found a tweet yesterday, which doesn’t totally fit with this memorizing but connects:

“transcriptions rly show how much of our talk is dirt & gravel, how clear thoughts have to be panned for like gold 

yet all the human pleasure is in the gravel, in the second-guessing & laughter & short sighs, the repetitions & amens, the silences where thoughts turn & settle

One bit of “gravel” I find in my recitation recordings is when I struggle to remember a word or phrase or line. Such delight in hearing the moment of remembering and the struggle to achieve it! What would it look like to transcribe that into a poem, I wonder?

august 21, 2020

5 — Oswald and the Tin-extractor

Reading the bit about panning for gold, I’m reminded of Alice Oswald’s Dart and her lines about the Tin-extractor (pages 17-18):

you can go down with a wide bowl, where it eddies round bends
or large boulders. A special not easy motion, you fill it with
gravel and a fair amount of water, you shake it and settle it and
tilt it forward. You get a bit of gold, enough over the years to
make a wedding ring but mostly these dense black stones what
are they?

he puts them in Hydrochloric acid, it makes his fingers yellow,
but they came up shiny, little wobbly nuts of tin

and the stones’ hollows hooting back at them
off-beat, as if luck should play the flute

can you hear them at all,
muted and plucked,
muttering something that only be expressed as
hitting a series of small bells just under the level of your
listening?

you rinse it through a shaking screen, you take out a ton of
gravelly mud for say fifty pounds of tin…

Dart / Alice Oswald

6 — Mary Oliver and gravel as dust as death

One section of The Leaf and the Cloud is titled, “Gravel.”

from 3.

Everything is participate.
Everything is a part of the world
we can see, taste, touch, hold onto,

and then it is dust.
Dust at last.
Dust and gravel.

8.

Listen, I don’t think we’re going to rise
in gauze and halos.
Maybe as grass, and slowly.
Maybe as the long leaved, beautiful grass

I have known, and you have known—
or the pine trees—
or the dark rocks of the zigzag creek
hastening along—

or the silver rain—

or the hummingbird.

9.

I look up
into the face of the stars,
into their deep silence.

10.

This is the poem of goodbye.
And this is the poem of don’t know.

My hands touch the lilies
then withdraw,

my hands touch the blue iris
then withdraw;

and I say, not easily but carefully—
the words round in the moth, crisp on the tongue—

dirt, mud, stars, water—
I know you as if you were myself.

during the run

Difficult to remember now that the run’s done, but I remember listening for the grit under my feet and thinking about how I like feeling something under me as I run. Also thought about Wittgenstein and the importance of rough ground, how smooth surfaces offer nothing to grab onto, to notice. And how uneven, gravelly ground offers a good distraction from the effort of a run.

Running past the Wabun playground, I suddenly remembered the time that Scott ran up the slide with the kids and into the metal bar at the top with his head. If he had hit it just right, or just wrong, he might have died — at least that’s what we thought when it happened. He was fine, but as I kept running, thinking about dust and death, I had a quick flash — how different life would have been for me and the kids if he had hit it wrong and would have been gone for more than a decade now. Thankfully the thought evaporated quickly, replaced by the rush of the river as it roared over the dam, and the ache in my legs as I ran down the steep hill below the Veterans’ Home.

I know I had more thoughts than that, but they’re all gone now.

addendum, 12 april: I almost forgot. I chanted about gravel to keep my pace steady and my mind focused (or distracted or shut off?):

gravel gravel
pebble pebble
rock / rock /
stone / / /

Nothing that creative, but it worked as a chant and I liked the sharpness of rock and the way stone stopped the sound, making room for 3 beats of silence.

addendum, 23 april: Re-reading this entry, I think I like this chant slightly better:

gravel gravel
pebble pebble
rock rock stone /

after the run

Searched “walt whitman gravel” and this was the first result:

Walt Whitman

A high nutrient amendment comprised of compost, rice hulls and chicken manure. A little goes a long way. Blend with existing soil at 25-30% by volume and follow with a thorough irrigation immediately after planting. Walt Whitman when used at an appropriate rate will provide adequate fertility for plant establishment.

Contains: Wonder Green™ Compost, Rice Hulls, Chicken Manure

American Soil and Stone

“Walt Whitman when used at an appropriate rate will provide adequate fertility…”. Yes, this sounds about right—with his excess of words and exclamation points and enthusiasm for everything, I always need to use moderation when reading Whitman!

Also, searched “gravel” on Poetry Foundation and found this haunting poem. Wow.

An Ordinary Misfortune [“She is girl. She is gravel.”]/ EMILY JUNGMIN YOON

She is girl. She is gravel. She is grabbed. She is grabbed like handfuls of gravel. Gravel grated by water. Her village is full of gravel fields. It is 1950. She is girl. She is grabbed. She is not my grandmother, though my grandmother is girl. My grandmother’s father closes the gates. Against American soldiers, though they jump over stone walls. To a girl who is not my grandmother. The girl is gravel grabbed. Her language is gravel because it means nothing. Hands full of girl. Fields full of gravel. Korea is gravel and graves. Girl is girl and she will never be a grandmother. She will be girl, girl is gravel and history will skip her like stone over water. Oh girl, oh glory. Girl.

april 10/RUN

3.25 miles
trestle turn around
51 degrees

Spring! Spring! Spring! Sunny and warm. Shorts with no running tights. Lots of birds singing and drumming and casting big shadows across the path. Near the end of my run, I saw the shadows and stopped briefly to catch a flash of a soaring bird. An eagle or a kestrel or a hawk? It couldn’t be an owl, could it? Do they fly that high? Didn’t hear any rowers and barely noticed the river — even when I stopped at the overlook at the end of my run and was looking straight at it. I think I noticed the dirt trails leading down to the gorge the most. Heard some dogs barking down in the gorge. Ran past a peloton on the road. Saw some graffiti on the door of the porta-potty under the lake street bridge. Overheard a conversation, or one brief bit of a conversation:

walker 1: “I’ll just have to get up tomorrow and go to work, and forget about it.”
walker 2: “uh huh”

This reminds of something I heard yesterday from one biker to an other: “They don’t have a leg to stand on to fire him.” A leg to stand on? I don’t hear that expression that often anymore. Also, why was “he” being fired, and from where?

before the run

This popped up on my twitter feed:

https://twitter.com/shaetlan_rose/status/1512848196682366979

Very cool. Read the article in The Guardian, then the study it linked to: Language of fungi derived from their electrical spiking activity. Here’s a summary:

Mathematical analysis of the electrical signals fungi seemingly send to one another has identified patterns that bear a striking structural similarity to human speech.

and

The research, published in Royal Society Open Science, found that these spikes often clustered into trains of activity, resembling vocabularies of up to 50 words, and that the distribution of these “fungal word lengths” closely matched those of human languages.

Mushrooms communicate with each other using up to 50 ‘words’, scientists claim

I find this interesting — how they did it, by placing iridium coated spikes in their nerve centers and measuring electrical impulses, then analyzing the impulse clusters and comparing their length to human languages — but I’m particularly struck by the researches explanation of why this matters:

a modified conception of language of plants is considered to be a pathway towards ‘the de-objectification of plants and the recognition of their subjectivity and inherent worth and dignity’ [28].

Language of fungi derived from their electrical spiking activity

So, to care for and grant dignity and worth to fungi we need to understand them to be as “smart as us” — that is, able to use language? Why? Even as I enjoyed reading this experiment and thinking about fungi communication as language, I wonder about its purpose and why we need fungi to speak in ways we can understand in order for them to have value. And, why do we assume that, 1. human language is the most valuable (or complex/sophisticated) and/or 2. to value something it needs to be like us? Perhaps I’m reading too much into their claim?

I found a comment at the end of the article that offers a useful critique from a slightly different perspective than mine:

This kind of anthropomorphic work would do well to define terms including words, language, information, and communication. These are technical terms in communicology and in linguistics but are indiscriminately used in this research. Plants do not produce meaning but merely exchange information. They do not, therefore, communicate in any human way. Language is not merely a syntactical system, as implied here. Language consists of the necessary components syntactics, semantics, and pragmatics. In short, the image of the human cast over the findings is inappropriate. It is also not needed to make the research interesting.

comment on article from I Catt

I also found this poem about a type of mushroom (Ophiocordyceps unilateralis) that invades carpenter ants:

The Ants/ Matthew Rorher

Nothing is more important to the ant
whose exoskeleton has been breached
by mushroom spores that are now
controlling his nervous system
and compelling him to climb to a high leaf
only to die and release the spores
over the whole forest
than this poem about his sad plight.

Otherwise his life is meaningless.
Forage. Chew. Recognize by scent.
Abdication of the will. A huge wind
that comes and sweeps his fellows
off the grass. When he dies up there
in the treetops the mushroom grows
right out of his head and breaks open
lightly dusting the afternoon.

Everything he thought he was here
on Earth to do has been left undone.
Through the trees
the spores move on their sinister ways.
I put down the science magazine written
for elementary school kids
in which I have briefly disappeared.

during the run

Stopped at the end of my run to record some of my scattered thoughts during the run:

  1. Remembering the poem about the parasitic mushrooms and the carpenter ants that a poet found in a kids’ science magazine. Why and how do we lose the wonder we had as kids?
  2. Then I was thinking about care, and why and how we care about things. What do we need to care? Do we care about things we can understand? That we know? That have use value for us? What about things that make us wonder and delight in their strangeness? Why can’t that be a reason to care?
  3. Finally, I was thinking about Alice Oswald and something she said in an interview about otherness and how our encounters with the land and nature are ones of encountering that which is alien and other to us. So, we don’t recognize nature in how it’s like us, or we’re like it, but in how it is strange to us.

after the run

Found Oswald’s words, or my rough transcription of them, from a podcast:

I exert incredible amounts of energy trying to see things from their own points of view rather than the human point of view.

It’s a day long effort to get your mind into the right position to live and speak well.

citing Zizek: we can’t connect, be one with nature. It’s extraordinary, alien. It’s this terrifying otherness of nature that we need to grasp hold of and be more courageous in our ways of living with it and seeing it.

Landscape and Literature Podcast: Alice Oswald on the Dart River

Does it always have to be terrifying? Can we access this strangeness through wonder and curiosity, and marvel that there is so much that is different, and more, than us?

Thinking about this idea of connecting to “things” and nature through making them like us, anthropomorphizing them, I just remembered a delightful poem I posted by Lisel Mueller this last fall:

Things/ LISEL MUELLER

What happened is, we grew lonely
living among the things,
so we gave the clock a face,
the chair a back,
the table four stout legs
which will never suffer fatigue.

We fitted our shoes with tongues
as smooth as our own
and hung tongues inside bells
so we could listen
to their emotional language,

and because we loved graceful profiles
the pitcher received a lip,
the bottle a long, slender neck.

Even what was beyond us
was recast in our image;
we gave the country a heart,
the storm an eye,
the cave a mouth
so we could pass into safety.

april 7/RUN

4.25 miles
top of franklin bridge and back
37 degrees
wind / rain / snow

Ran in the afternoon, after returning from Austin. A huge wind gust almost blew me off the trail as I ran through the Welcoming Oaks. Later, the tornado siren went off. Because of the wind, I was concerned. Called Scott to check. It’s severe weather week and today they’re testing the sirens. Whew. With all the wind and snow and sirens, I don’t remember looking at the river. Did I? Yes! I just remembered. I admired the snow flurries looking like mist hovering right above the river. Very cool.

I chanted, mostly in my head but a few times out loud, the Christina Rossetti poem, “Who Has Seen the Wind?”:

Who has seen the wind?
Neither I nor you:
But when the leaves hang trembling,
The Wind is passing through.

Who has seen the wind?
Neither you nor I:
But when the leaves bow down their heads
The wind is passing by.

Anything else? Lots of black-capped chickadees. A Minneapolis parks vehicle approaching with a double set of headlights — 2 at the normal spot on the bumper, and 2 up above on the roof.

before the run

Today dirt = mud and sinking down into the earth. Found this poem by a Minnesota poet, Joyce Sidman (search term: mud):

text:

Sun
slant low,
chill seeps into black
water. No more days of bugs
and basking. Last breath, last sight
of light and down I go, into the mud. Every
year, here, I sink and settle, shuttered like a
shed. Inside, my eyes close, my heart slows
to its winter rhythm. Goodbye, good-
bye! Remember the warmth.
Remember the quickness.
Remember me.
Remember.

text

hashtłʼish = mud

About This Poem

“‘Muddy’ is inspired by the motion and cadence of Diné words. Looking at it on the page, one sees kinetic text and hears onomatopoeia, so the repetition of ‘tł’ish’ reenacts the sound of someone stepping in mud, and then the word itself turns into a poem.”
—Orlando White 

Mud as where you sink and settle during winter, and the sound of squishing through mud.

during the run

Tried to notice the mud. Mostly, it was on the edge of the trail. I ran over it to avoid 2 walkers. Biggest (and yuckiest) bit of mud was right by the big boulder near the sprawling oak just above the tunnel of trees at the grassy spot between the walking and biking trails. A vehicle had driven through it, leaving deep, muddy tire ruts.

after the run

One more poem:

Body/ ALICE OSWALD

This is what happened
the dead were settling in under their mud roof
and something was shuffling overhead

it was a badger treading on the thin partition

bewildered were the dead
going about their days and nights in the dark
putting their feet down carefully and finding themselves floating
but that badger

still with the simple heavy box of his body needing to be lifted
was shuffling away alive

hard at work
with the living shovel of himself
into the lane he dropped
         not once looking up

and missed the sight of his own corpse falling like a suitcase towards him
with the grin like an opened zip
         (as I found it this morning)

and went on running with that bindweed will of his
went on running along the hedge and into the earth again
trembling
as if in a broken jug for one backwards moment
               water might keep its shape

bindweed: invasive species that can clog harvesting equipment