Tag: haunt

sept 10/RUN

4 miles
river road, north/south
65 degrees
humidity: 87%

Went out for my run later than I’d like because I was watching the final climb on the Vuelta. I was hoping Vingegaard would do something special but sadly he didn’t have the legs (as commentator Christian likes to say). Other favorite phrases from Bob and Christian on Peacock’s coverage of the tour: going from strength to strength, fire power, full cry, and Jonas & co..

The run was a little difficult, partly because of the humidity, partly because of my need for a port-a-potty. Sigh. Oh — and the front of my left knee felt weird — tight? — for the first 5 or so minutes. Even with the difficulty, there were moments I felt strong and bouncy. I did a few strides (sprints, fast bursts) at the end.

Thinking about Girl Ghost Gorge some more, working on triple chants related to rock.

st. peter sandstone
st. peter sandstone
st. peter sandstone
limestone shale

platteville limestone
platteville limestone
platteville limestone
shale sandstone

10 Things

  1. a big orange X spray painted on a tree
  2. another orange x, smaller, painted on another tree
  3. gushing ravine
  4. more yellowing trees
  5. hello friend! to the still green welcoming oaks
  6. tunnel of trees — red leaves on the path, green on the branches
  7. orange construction signs — road closed ahead E. Franklin
  8. click clack click clack a roller skier
  9. ghost bike for June hanging high in the trestle — dried flowers wound through the spokes
  10. the sharp bark of a dog below, on the winchell trail

sept 8/RUNSWIM

4.3 miles
veterans home and back
61 degrees

Fall! Noticed a few more slashes of orange and yellow and some red leaves on the ground. More acorn shells on the trail. At the beginning my knee — I can’t remember if it was the left or the right one — hurt, a dull not sharp pain. I can’t remember when it stopped. Maybe it was when I started feeling the rumbling of unfinished business. When I reached the falls, I went to the bathroom. I’m ready to be done with perimenopause.

Running south, I listened to chickadees and music blasting from a bike radio — I recognized the 70s or 80s rock song, but now I’ve forgotten what it was. Just past the Veterans home, I put in my “the Wheeling Life” playlist.

10 Things

  1. the sound of the rushing creek, 1: just before it falls over the limestone ledge
  2. the sound of the rushing creek, 2: far below, as I ran over the bridge to the Veterans Home
  3. a soft mist rising from the falling water
  4. a half-filled parking lot at the falls
  5. a full parking lot at the Veterans Home
  6. an empty parking lot at Locks and Dam no 1
  7. above on the bluff at Waban Park, a view of the river, the water rushing over the concrete, one white buoy, several redorangepink buoys
  8. an American flag waving near the Veterans Home
  9. strange flashes and a distorted view out of my central vision as I ran across the bridge — a result of facing the sun, I think
  10. soft shadows from the chain link fence on the bridge

While I ran, I chanted in triples. I was hoping to center or ground or locate myself in the time and place. First, berries, then:

I am here/I am here/I am here
I am now/I am now/I am now
I am here/I am here/I am here
It is now/It is now/It is now
here here here/ now now now/ here here here/ now now now

Then, I added a condensed version of some Emily Dickinson:

Life life life/death death death/bliss bliss bliss/breath breath breath

Then:

I am here/I am here/I am here/Here I am
123/123/123/123

Throughout the run, I thought about locating myself and how I might translate that for my project. A list of surfaces? my landmarks? a topographical map?

Reviewing old notes and entries, including 19 may 2025, which includes a bit on context, I encountered the phrase, there or there abouts. I had written it in my notebook after hearing it several times on the TNT coverage of the giro d’italia (the tour of italy cycling race). Yes. When I locate myself, it’s not here! or there. but there or thereabouts. Maybe that could be the title of a poem for the collection?

there or thereabouts

double bridge
old stone steps
ancient rock / stacked with stones
sliding bench
near the fence
under tree
on the edge (of the world)
high above
down below
in the flats
past the creek
wrapped in green
off the ground / in the air
deep in oak
riverside
locks and dam
sewer pipe
steep ravine
brand new trail
snowy path
in the groove
seeping hill
leaking ledge
eagle’s perch
spreading crack

Do I want to do this poem in triples? Not sure. It is how I locate myself sometimes — by chanting in triples about what’s around me. This syncs up my feet with my breath and my surroundings. But, how does it sound? And does it work as a poem?

A new poet to read and podcast episode to listen to!
Translation of the Lilies Back into Lists/ Laynie Brown
Laynie Brown: Apprentice to a Breathing Hand (tinhouse podcast)

swim: .75 loop
lake nokomis main beach
76 degrees
wind: 29 mph gusts

Another swim! When RJP told me the buoys were still up I knew I needed to swim again. Wow, it was choppy, and wow, that water was cold, but it wasn’t too cold and the choppy water was fun. I think there were whitecaps. In one direction, I could mostly ride the waves, the other direction, I punched water. Both fun, but in different ways. Speed from one, power the other. Got tangled in some vines, but nothing I couldn’t get out of. Noticed: soaring and hovering seagulls, held up by wind; planes, bobby buoys, voices, and water rushing over me, water crashing into me, water dragging me forward and sideways. I wouldn’t want to swim in water like that every time, but it was fun today.

sept 7/RUN

3.5 miles
bottom locks and dam no 1
60 degrees / humidity: 59%

What a difference low humidity and less direct sun makes! Today’s 61 felt much cooler. A wonderful, early fall morning. Often September still feels like summer — that is, it’s uncomfortably warm — but this year it definitely feels like fall. It looks like it too. Leaves changing color already. At the bottom of the locks and dam, looking over at the east bank of the river, I think I noticed changing leaves. Not sure what color, just the sense that they were no longer green green green.

10 Things

  1. at the bottom of the hill, the surface of the river was covered with swirls of green-tinged foam
  2. the pedestrian gates to the lock and dam were open — I thought it was closed?
  3. encountering an adult and a kid on bikes having just crossed the road. The kid: why didn’t they stop? the adult: because they were breaking the law
  4. running parallel to a runner slightly slower than me. me, on the dirt trail in the grassy boulevard, them, on the river road trail
  5. down on the winchell trail, admiring the color of the river: light blue and only partly visible through the green leaves
  6. no puddles, but patches of soft dirt and mud from yesterday’s multiple rain showers
  7. near the 38th street steps, another runner emerged from the trees and the part of the winchell trail that travels down to the oak savanna
  8. the strange shuffle of someone’s feet — part-walk, part-run, part-skip
  9. lots of cars parked on the street, lots of people walking towards the river — longfellow’s annual clean up the river event
  10. water streaming out of the 42nd street sewer pipe

girl ghost gorge

It’s fall, so good-bye my obsession with open swim, hello girl and ghost and gorge. I’m hoping to build on the dozen poems I wrote last year and create a full collection. I want to add some different forms and approach my obsessions from different perspectives.

On the way home, a thought, partly inspired by W Berry’s reversal of wild and domestic: my collection of poems / hybrid pieces is about locating myself and making a home beside/above/near the gorge. In a disorienting time — for many reasons, including my vision loss — I’ve been running by the gorge to orient myself, to find a home space, to establish an enduring location.

connections and re-connections: place, family, others, a larger history, the non-human world, my body, a nation (not sure if nation is the right word here, but I’m thinking about the park system and public works projects in the US), past and future Saras.

a flash: somehow bring in the unigrid brochure that I did, or something like it, into the book — a map, a nod to the national parks — would this fit in this collection, or should it be a separate project? If not the unigrid brochure, take some inspiration from the WPA poets hired to write guide books, like Lorine Niedecker. Add in a few entries inspired by that?

Back to the connections/being located thread: I wrote in my Plague Notebook vol. 26: Locating myself on eroding, shaky ground. Too unstable for a foundation? No, but offering a new way of thinking about location and connection and where I might root myself. Not just rooted in the ground, but connected to water and air — the river, the gorge. The location is and is not a place: a specific location with paths and forests, a river, limestone and sandstone walls AND the absence of land that the gorge frames — space, air, Nothing.

may 12/WALK

45 minutes
longfellow flats
70 degrees

Took Delia the dog on a walk to the river. So much green everywhere. Birds, blue sky, soft breeze. Everything out of focus. Walked above the winchell trail and the ravine. Made note of the angle of the leaning tree on the wooden fence. Couldn’t see anything below through the thick leaves. Encountered 2 women with coffees deliberating whether or not to descend the old stone steps. Let’s go further and take the road down. I took the steps down to the trail that leads to the river. The river was blue and sparkling with small waves lapping the shore. A boat must have just come through — I didn’t see it. I wish I could have stayed there for longer but Delia wanted to keep moving. Returned to steps and waited for someone descending. At the bottom, they turned around and walked back up. Did they change their mind, or were they doing a stair workout?

For the rest of the walk Delia was difficult. Refusing to go in certain directions, wanting to stop and pee near every tree, slowing down right in front of me. I want to forget my irritation and remember what a beautiful morning it was, how the river looked, how the air felt. Breathing it in, a sense of calm and euphoria enveloped me.

before the run

Yesterday I came across this call for submissions:

What does it mean to be a poet engaged with the physical material of the world around us? How does poetic form change in the encounter with other beings? How do we write collaboratively with—rather than about—nonhuman beings and ecologies?

For the Fall 2025 issue, Arc is seeking experimental eco-poetry that engages with the possibilities of organic form. We welcome experiments with lyric, visual poetics, material poetries, and sound poetries.

I want to spend today (at least) exploring what this might mean for my writing around/beside/within the gorge. And, if I can manage it, I’d like to find another home for some of my favorite lines: it begins here, from the ground up: feet first, following. I started to write, finally find a home, but then I remembered that I’ve actually used the line in a poem that was published earlier this year: Girl Ghost Gorge

My organic form is based on breathing and foot strikes: 1 2 3 breathe in/ 1 2 breathe out. Is this experimental enough?

How do write collaboratively with the nonhuman? Does my form, based on foot strikes, impose an order on the nonhuman? Does it offer a way outside of myself and into somewhere else?

How does poetic form change in the encounter with other beings? I’m thinking about water and stone and wondering how they inform my poetry about the gorge.

during the run

I tried to think about my form as I walked. Mostly, it’s easier for me to think about the words/content than about form and shapes of the words. I wondered about absence and the gorge as eroding/eroded and how that affects the page. An blank space that is not empty but open. Yes, can I push at the idea more?

after the run

I think some inspiration would help in thinking through how form can be inspired by place. Time to revisit Susan Tichy and her collection North | Rock | Edge.

distills somatic observations down their bones. Tichy describes an immersive, granular experience exploring the contours, rocks, winds, and waters of Shetland, a remote northern archipelago between Scotland, the Faroe Islands, and Norway. In isolated yet accumulative images and line breaks, she details the distances and resonances between geology and language, minutely mutable coastscapes, and how to write and walk in a time of planetary change.

distills / somatic / immersive / granular
contours / rocks / winds / waters
isolated yet accumulative images and line breaks

In the interview, Tracy Zeman suggests:

The islands’ bays, rugged edges, and jagged protrusions correlate with the way the poems look on the page, a varied right margin, short lines, and a proliferation of line breaks. There are few stopping points in the poems, no periods, and sparse punctuation generally, so that pacing and rhythm are made with line, as if the reader is part of one continuous yet staggered experience.

In my poems about the gorge, I’m less interested in having the words look like the place, but I like the idea of the few stopping points, lack of punctuation and a poem that is part of a continuous experience. Maybe a mostly continuous experience with a few pauses?

There are rhythms to walking on rough ground, a step-after-step persistence that swallows obstacles, like irregular lines that nonetheless carry forward through the poem. There’s also a sensory excitement in a sea-rock-light-wind-bird-flower-seal-seep-peat-rain-salt—oh look, there’s a whale!—environment that subsumes attention to any one thing into the press of the whole.

I like this idea of the sensory excitement that doesn’t subsume attention to any one thing, even as there is one thing: the gorge as gap, gash, bowl.

Tracy Zeman: you also eschew the “I.” I feel that the lack of “I” allows the reader to experience the place as the poem’s speaker does, and that the landscape stays primary and the human secondary in the action. Can you explain why you made this choice and what effect you hoped it would have on the reader’s experience of the text?

Susan Tichy: To me, the poems feel so intensely somatic and personal that the grammatical sign felt unnecessary. Here and there, I drafted other people’s words to express the sensation more directly, such as Robert Macfarlane’s thought diffusing /at body’s edge in “Eshaness | Is It Force Failure.”

Where do I/the poet fit into my poems? I wrote in Plague Notebook, no. 25: To be with the gorge, to witness/behold it, demands participation not observation. It is intimate — contact, meeting, interfacing — and transforms you. You transform it (the gorge world), too.

I feel like this poem that read today on Poetry Daily (poems.com) speaks to and against that:

Captivity/ Siddhartha Menon

it is impossible
to kill and question at the same time.
—Louise Glück, “Liberation”

Or to watch and at the same time
to capture.
A restive robin in your path
flew onto a low cable
and you had to choose between
binoculars and camera. You knew
it would not stay for both.
So near: a killing
to capture it forever here.
Only to watch is a kind of questioning.
You are paralyzed.

captivate = to hold something’s attention
captivated = rapt, enthralled, cannot look or turn away

march 19/RUN

4.25 miles
minnehaha falls and back
38 degrees
wind: 18 mph / 37 mph gusts

Ran south and had the wind at my back for the first half, which was nice but it meant that I’d be running straight into it on the home. Not as difficult as I thought, but still draining. Wore the bright yellow shoes I bought last year and promised myself I’d never wear again because they make my feet hurt and calves cramp. They’ve been sitting in the rack all year, and looked so spring-y today that I couldn’t resist trying them again. Will I regret it? Probably. I should donate them instead of trying to make them happen.

10 Things

  1. little kid voices somewhere down in the savanna
  2. empty benches
  3. something glittering through the trees, up ahead — car headlights through the trees at the bend in the road
  4. a faster runner in a white shirt off to the side, heading down to the Winchell Trail — I followed above, watching as they slowly inched out of sight
  5. I don’t remember hearing the falls, just seeing them at a distance, from my favorite spot — white foam, moving rapidly at the corner of my central vision
  6. pale blue water, soft brown trees
  7. dead leaves on the ground — feeling orange to me
  8. the bluff on the other side was mostly brown with a few slashes of white — frozen seeps
  9. branches rubbing and creaking in the wind, sounding less like rusty door hinges and more like whimpering kids: soft, insistent, whiny
  10. running on the winchell trail, about to head up the 38th steps, I looked back and thought I saw someone approaching — nope, just the wrought iron fence

before the run: my blind spot

Yesterday, I read an interview with JJJJJerome Ellis and was inspired by their renaming of their Stutter as clearing:

Ellis’s glottal block stutter—which manifests as intervals of silence in his speech flow—is represented in this interview with the word clearing. Ellis offers this term as an alternative to words like stutter or stammer. Like a clearing in a forest, the stutter, for Ellis, can open a space of gathering between Ellis and the people he is communicating with.

Angel Bat Dawid and JJJJJerome Ellis

After a little digging, I found out more about the clearing and how it works for Ellis in their work:

Stuttering (especially in the form I present with, the glottal block) creates unpredictable, silent gaps in speech. I call these gaps ‘clearings’. Slaves sang in the fields, and whites heard them; but they also sang (and danced) in the woods at night, out of earshot. Undergirding the clearing created by my stutter is that other clearing, in the woods, where my enslaved ancestors stole away to keep healing, resisting and liberating through music – work that I continue today.

The Clearing/ JJJJJerome Ellis

Wow! What an amazing way to think about the stutter. In their follow-up book, the one that introduced me to Ellis, Aster of Ceremonies, they connect the Stutter explicitly with plants and place. I want to connect my blind spot — that growing lack of functioning cone cells in my macula — with water and stone and the gorge. As I try to explain this more, I have so many thoughts, too many words!

Just looked up blind spot and found these exciting definitions:

an area in which one fails to exercise judgment or discrimination

Merriam-Webster online

In this definition, a lack of judgment is a failure. And it is sometimes. But refusing to judge, keeping a space open for listening and beholding and bearing witness without judgment or the reduction of someone or something to a category (discrimination) is also essential.

Another helpful definition:

a portion of a field that cannot be seen or inspected with available equipment

Merriam-Webster online

during the run: my blind spot

I thought about my blind spot every so often as I ran, especially the idea of how it softens and fuzzes my vision. It’s difficult to see with precision, to scrutinize or make detailed observations that encourage me to identify and classify things. As a result, I devote less time to trying to name them, and more time to being with them. Here I’m thinking of Robin Wall Kimmerer and J. Drew Lanham.

I’m sure I had more thoughts, but I didn’t record them. If I had, would I even be able to hear them over the howling wind in any recording I would make today?

after the run: my blind spot

A space without judgment. Back when I was a scholar and teaching queer ethics, I was exploring what an ethics without judgement might look like, one that emphasized room to breathe and, as Judith Butler puts it, good air. I often invoked a quotation from Michel Foucault:

I can’t help but dream about a kind of criticism that would try not to judge but to bring an oeuvre, a book, a sentence, an idea to life; it would light fires, watch the grass grow, listen to the wind, and catch the sea foam in the breeze and scatter it. It would multiply not judgments but signs of existence; it would summon them, drag them from their sleep.

The Masked Philosopher/ Michel Foucault

A few days ago, I read something else about not judging from Cole Swensen:

. . . an instance of witness, with witness defined as the act of being present to something, whether it’s an event, a situation, a person, a view. To be present to is to present yourself, to offer yourself, to attend without judgment, opinion, intervention, appropriation or even evaluation, and yet to be present to is not to be passive; it is an act, the act of anchoring the witnessed in history, confirming it, acting as the “second” that fixes it . . . . It is the ear that turns the falling tree to sound.

Walk/ Cole Swensen

Witnessing, being with, beholding. The gorge — a widening gap, a broad space where fires are lit, the grass grows, the wind howls, and river foam scatters. A generous place for holding all of the messy, entangled, conflicting, complicated stories of a place: of preserving and maintaining it, of stealing it, of losing it, of dead mothers who disowned it, of daughters who are attempting to reclaim it, of erosion and transformation and haunting, of a girl losing her central vision and searching for somewhere to be — to feel less alienation and more connection. There’s a lot here!

For the first half of the run, I listened to kids’ voices, for the second half, my “Doin’ Time” playlist. Speaking of time, here’s something great I read by Hanif Abdurraqib about nostalgia:

Another question I was asked about There’s Always This Year was about the use of nostalgia in my work, and the function of it, and I had this long answer I was going to give, but I look back on recent moments, and I realize that a major function of my relationship with nostalgia is actually tied to a committed and principled relationship with my present life. I am in pursuit, often, of a moment I will live and miss before it’s even gone. And the awareness of the longing to come offers me an opportunity to slow down time, to pay closer attention, to say I know something will end, but I would like a vivid catalog of its existence. My favorite Robert Hayden poem is “Double Feature,” which opens its final stanza with “Oh how we cheered to see the good we were / destroy the bad we’d never be.” I love that line. There’s a lot of bad to dismantle, and only some of it is housed within. The world houses the rest, and it is abundant. I require whatever good I can steal and then hoard. It fuels me to the fight(s,) which isn’t the same as a kind of whimsical nostalgia, but it is me saying that I remember there are things I love enough to fight for, even when it doesn’t feel like it. There are things I miss that I haven’t even experienced yet, and I want to get to them, eventually. And then get to what’s next.

instagram post

added later: I want to add these thoughts from an Alice Oswald interview about erosion here, too:

DN: I wanted to switch to another topic that infuses your work, and that is the process of erosion—erosion by water, erosion by wind, erosion by light—the topic of your first Oxford lecture but also, something that feels very present to Nobody. You said in one interview that the anonymity you were striving after for this book was inspired by eroded Cycladic sculptures, sculptures where the features had been nearly washed away. I was hoping you could talk about erosion in relationship to this and to the text.

AO: I suppose that comes back to your question about thinking. The poem conveys a kind of eroded thinking. It’s as if the thoughts have had reality washing away at them; a sentence sets out then gets blown in another direction. Erosion is important to me in that I think poetry has a particular duty and relationship towards time. Poems are miniature human clots I think, they’re full of time keeping in the way that a piece of music is full of timekeeping. In some way, they set their own time but they need to be awake to actual time moving around them. A poem has to offer itself up to the erosion that’s going on in the world. Nobody, more than any of my poems, I think gives in completely to that force of erosion where I would normally try to maintain some human presence in the face of it. I think Nobody allows itself to get weathered to a Cycladic blankness.

This idea of a poem offering itself up to erosion and to being within time, reminds me of something I heard from Jenny Odell the other day in “Another Kind of Time.” She’s talking about how being part of time, having a past, present, and future — and not just being timeless — makes something/someone a subject/actor instead of thing to be commodified/exploited. To be timeless/without time is to lack a context and a life. I’m also thinking about how preventing erosion often requires a sealing up and away from oxygen, water, wind. Erosion and decay are a necessary part of life.

DN: This talk of erosion and time makes me think of that famous Marguerite Yourcenar essay, That Mighty Sculptor, Time. I’m just going to read a couple of lines from it, “On the day when a statue is finished, its life, in a certain sense, begins. The first phase, in which it has been brought, by means of the sculptor’s efforts, out of the block of stone into human shape, is over; a second phase, stretching across the course of centuries, through alternations of adoration, admiration, love, hatred, and indifference, and successive degrees of erosion and attrition, will bit by bit return it to the state of unformed mineral mass out of which its sculptor had taken it.” I was thinking of this when I encountered your interview with Claire Armitstead where you said you think of your poems less as poems than as sound carvings which made me think that the sound these poems were making is eating away at something which then by extension suggests that both the blank page and silence are not really absences in this framing at all but presences.

AO: Yeah, I like that. I’ve always felt that in some way, a poem is really a framing of its silences, that the musical art poetry is all about leading you to those silences in a way that you hear them where normally one doesn’t necessarily hear a silence or an absence, both the sound is eating away that silence but then also, the sounds are, in their own way, erosions made so I let my voice get blown around by the information it’s taken in if you like. The feeling of not quite holding your own. . . .

DN: Let me ask you something about Homer’s syntax that you’ve said in light of sound carvings being a description of your poems. You said about Homer’s syntax, “The tendency of his grammar is therefore cumulative, like a cairn. Each clause is a separable unit. It might be placed loosely on another and held there with a quick connective, but it never loses its essential singleness; which is why you often find that one end of his sentence turns away from the other.” On the one hand, this feels like a process of accretion rather than erosion, an accumulation, but the singleness and the separateness of each component, and that each is surrounded by silence of the white page made me wonder if perhaps, this accumulation is the product of erosion like I imagine the scree that builds at the at the bottom of a cliffside of all the piles of rocks that are single but also part of this erosive process.

I love erosion: I like the way that the death of one thing is the beginning of something else (source).

jan 1/RUN

4.5 miles
minnehaha falls and back
15 degrees / feels like 3 / flurries

2025, I’m not sure how I feel about you. Not dread, but not exuberant hope either. I guess I’m trying not to think about you and what you might bring that much. Running beside the gorge helps. Very few, what ifs, many more now and now and nows. Today’s run was great. I was surprised to see that the feels like temp was 3. It didn’t feel that cold. I guess I picked the right layers: 2 pairs of black running tights, a black fleece-lined cap with ear flaps, a gray buff, a faded green long-sleeved shirt, a bright orange sweatshirt, a purple jacket, gray long socks, black short socks, black gloves, pink and white striped gloves. At the halfway point, one pair of gloves came off.

While I ran, I thought about remembering and forgetting and decided when I returned home, my 10 things list would be of things remembered and things forgotten.

10 Things Remembered or Forgotten

  1. I remembered to look down at the river
  2. I remembered what it looked like: steel blue, a few thin sheets of ice
  3. I remembered to stop at the bench above the edge of the world to take in the openness — soft, almost still except for a single leaf fluttering and several leaves sizzling, and was the water moving very slowly or was that just the staticky buzz of my glitching cone cells?
  4. I forgot about my headache
  5. I forgot about my IT band
  6. In mile 3, I remembered my IT band and thought about how it’s impossible to fully forget your body, which is good, because why would I want to do that?
  7. I forgot the election
  8. I remembered to look carefully, and more than once, before crossing from the trail to the grassy boulevard
  9. I remembered to stop at my favorite view of the falls — the water was gushing over the side
  10. I remembered what I overheard above the falls: a dad — no hiking today, a mom: we can take a walk instead!

I suppose it’s easier to remember what you remembered, than to remember what you forgot!

Reading through a past entry from 1 jan 2019, I was reminded of how I used to gather favorite lines at the end of the year and turn them into a new poem. I’d like to do that again this year!

The poems that I’ve been writing this fall about the gorge, are mostly about water and stone, but the open space of the gorge is important too. I’d like to devote some time to it as air, as openness, as possibility, as room to breathe, as Nothingness, as mystery, as inexplicable, as . . . . Here are two different fragments that may or may not turn into something:

When water cut through
rock, sandstone wore away,
limestone broke up, and
an abundance of
air arrived.

*

When water cut through
sandstone and limestone,
it made of the rock
still standing a frame
to loosely hold the
newly formed space. And
what a space! Such an
abundance of air!
Such room to breathe and
to be! Big enough
to hold more than is
seen or imagined
or witnessed with words.

dec 30/WALK

1.5 mile walk with Delia
the gorge, from 36th to 34th
32 degrees / fog

Good job, Sara. You resisted the urge to run. A walk with Delia was wonderful. So quiet and calm and relaxed! Moist, too. I loved breathing in the cool air and almost floating through the fog. All of it, a soft dream. Occasionally I encountered others — some walkers and runners — but mostly it was just us. At one point, descending through the tunnel of trees, which isn’t really a tunnel anymore because they cut it back at some point, the only thing I could hear was a hammer pounding across the road. No cars or voices or striking feet. Wow! Several times, I felt a warm buzz.

10 Things

  1. a white sky
  2. open water
  3. wet asphalt
  4. grass covered in brown leaves
  5. a dark form descending into the ravine — silent, featureless
  6. a brown view of the floodplain forest — all slender trunks and bare branches, no river or sky poking through
  7. a runner in the neighborhood emerging from an alley in a sprint, then returning to the alley, then appearing again, then disappearing around the corner
  8. thump thump thump the striking feet of a runner across the street — the same one? I’m not sure
  9. the silvery sparkle of the sign at the 35th street overlook — is this sign new?
  10. overheard: a woman running alongside a kid on a bike, talking to the kid — you had your pink backpack and your droopy dog stuffed animal — did she say droopy, or some other word?

I wanted to think about my Ars Poetica poem as I walked, and I did, but I’m still stuck. Something about letting things breathe and be exposed to the air to see what happens and erosion and ruins. I’ll give it until the end of the year, and if I’m still stuck, I’ll put it away for a bit.

forget what you are

While reading poet’s Cynthia Cruz’s explanation of how her poem, “Dark Register” is shaped by Hegel’s Philosophy of Spirit, I encountered these lines about habit:

“Habit,” in the third stanza refers to Hegel’s concept of habit: the act of repeating an action that, through this repetition, becomes second nature. For Hegel, habit implies forgetting: we forget what we are doing once the action becomes habit.

Cynthia Cruz on “Dark Register”

we forget what we are . . . . I immediately thought of Marie Howe’s beautiful poem, “The Meadow” and her lines about her dying brother:

I want to add my cry to those who would speak for the sound alone.

But in this world, where something is always listening, even
murmuring has meaning, as in the next room you moan

in your sleep, turning into late morning. My love, this might be
all we know of forgiveness, this small time when you can forget

what you are.

This forgetting also reminds me of Mary Rueffle’s reference to Levi-Strauss’ “unhitching, which I wrote about on may 31, 2023. First, my rough paraphrasing:

unhitching happens in brief moments when we can step outside of or beside or just beyond — below the threshold of thought, over and above society — to contemplate/experience/behold the this, the what it is, the essence of everything, Mary Oliver’s eternity.

Second, a quote from Levi-Strauss in Mary Ruefle:

The possibility, vital for life, of unhitching, which consists … in grasping, during the brief intervals in which our species can bring itself to interrupt its hive-like activity, the essence of what it was and continues to be, below the threshold of thought and over and above society; in the contemplating of a mineral more beautiful than all our creations; in the scent that can be smelt at the heart of a lily and is more imbued with learning than all our books; or in the brief glance, heavy with patience, serenity and mutual forgiveness, that, through some involuntary understanding, one can sometimes exchange with a cat.

Lévi-Strauss quoted MRH page 52

Wow, all of this is making me think of something I wrote, referencing Mary Oliver, about the gorge. Initially I added it on the end of my geologic time poem, and maybe it should stay there and be extended, or maybe it should be another poem? Here are the lines:

Every day this place
erodes the belief
that rock will stand still,
is here forever,
unmoved, unmoving. 
And yet, with its slow 
slight shifts on a scale 
almost beyond her 
comprehension, these 
rocks might be as close 
as the girl can get
to eternity.

So many more connections I could make with forgiveness and forgetting and remembering and now and now and now!

dec 29/RUN

5 miles
minnehaha park and back
34 degrees / fog / humidity: 94%

Almost all of the snow, which wasn’t much to begin with, is gone. The ice, too. Hardly any wind, but plenty of moisture — the trail, the air, my face. Ran past the falls and John Stevens’ house to the VA bridge, then turned around and ran beside the falls. Stopped at my favorite spot to admire the falls, which were gushing. Put in “Billie Eilish” playlist and ran home.

10 Things

  1. mostly bare grass — the only snow were little mounds where the walking path split off from the biking path
  2. the creek water was fast and steel gray
  3. heard the train bells from across the road, then the horn tapping twice — beep beep
  4. car lights cutting through the mist/fog
  5. an older man pushing an empty wheelchair on the path
  6. glancing down at the Winchell trail north of 38th street, seeing two people walking on a part near the edge, high above the water
  7. I just wrote gray sky, no sun or shadows, but then I remembered there were a few patches of blue sky
  8. overheard: one woman walker to another — ptsd, trump, spend time with family
  9. smiling and waving to people I encountered — one good morning to another runner
  10. a man and a woman stopped at the edge of the walkway down to the bridge over the falls looking at something on a phone — I finally got it! Its back at my apartment

For the past 3 days, Scott, FWA, RJP, and I were up in Duluth. Very mild — no snow, no wind, no waves, some drizzle. Lake Superior was beautiful, especially the first night. While we were gone, I didn’t run. Today was my first day back since Thursday. My left hip is sore after the run. I should take more of a break.

I’m returning to my “Ars Poetica” poem and wanting to use this bit from Kafka for inspiration:

According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it.

Not becoming one with the gorge, but striving to press deeper and deeper into it, to leave a trace/mark on it, and be marked by it.

dec 24/WALK

1 mile
neighborhood
28 degrees

It seemed colder than 28 degrees as Scott and I took Delia on a walk this morning. Damp. It looks like snow, but hours later as I write this, it still hasn’t started. The sky is a heavy white. There was some ice on the sidewalk — thin, almost invisible patches. Conscious of my vision, Scott pointed them out. It’s strange how my vision works; I was able to see all of them. I think it’s because of the texture — the icy patches make the concrete just a little bit shinier.

10 Things

  1. good morning! greeted a neighbor on the next block — the one with the cat (matt) who rules the sidewalk and the very cool poetry station. I thought about asking his about it, but didn’t — next time!
  2. most of the ice was in the usual spots — the places where ice always forms because of the slope of the ground or the way a drain pipe is positioned
  3. a dog’s sudden appearance on the other side of a fence startled, then delighted me
  4. the soft tinkling of a collar, almost sounding like a bell
  5. Dave the Daily Walker in the distance
  6. the decorations in the trees of a house on the corner of 28th — over-sized ornaments in soft colors
  7. noticing the contrast colors of a house, wondering to Scott, didn’t that house used to be all one dark color? He couldn’t remember, but I do, now. I’ve written about this house before and its once purple door
  8. I’m not sure what we were talking about but I have no memory of what I saw or smelled or heard for the next couple blocks
  9. oh! one thing I remember now: the beautiful frosty pattern of icy leaves etched on the sidewalk — the leaves were gone, but had let their prints
  10. Delia’s wagging tail as we neared our garage — are we almost home? (wag wag wag)

A few hours ago, before our walk, I did my standard 30 minutes for flexibility yoga. Wow! It felt so good and made me very relaxed. As I stretched, I had a thought about my series of Haunts poems: break up the long 5 syllable sections with some short lines from other writers (mostly poets) that I fit into my 3/2 patter. I call them for fitters. I’m thinking of these kind of like Jane Hirshfield’s pebbles or Mary Oliver’s sand dabs or Victoria Chang’s tankas in Obit. I’m also thinking of them because of the poet Sparrow, who I just learned about in Lydia Davis’ essay on form. Sparrow wrote an entire series of “translated” New Yorker poems.

I thought I had written about the sand dabs and pebbles on here before, but I can’t find anything:

A Year with Mary Oliver posted all 9 of MO’s sand dabs on instagram! Here’s an explanation of the form:

(Sand Dabs 1/9) Over the next nine days, we’ll be sharing each of Mary’s nine “Sand Dabs.”

As Mary wrote in the footnote of Long Life: “The sand dab is a small, bony, not very significant but well-put-together fish.” 

The incomparable @mariapopovadescribed “Sand Dabs, One” as “just a few lines, largehearted and limber, each saturated with meaning and illustrating the principle it espouses in a clever meta-manifestation of that principle embedded in the language itself.”

The remaining eight also fit that description.

They read like many of the excerpts from Mary’s notebook (which she shared in the essay “Pen and Paper and a Breath of Air,” found in Blue Pastures)—free form noticing and thoughts, in list form. 

All nine Sand Dabs are scattered throughout four of Mary’s less frequently visited books: Blue Pastures, West Wind, Winter Hours, and Long Life. She wrote them over the span of nine years. Just adding more as she went along. 

We weren’t able to find any place where all nine lived together. It was fun to collect them from their disparate pages, put them together, and read them all in a row.

Mary Oliver’s Sand Dabs

And here’s a Pebble from Hirshfield:

Retrospective/ Jane Hirshfield

No photograph or painting can hold it—
the stillness of water 
just before it starts being ice.

The mention of ice reminded me of a wonderful description I found in the novel I just started reading, A Little Stranger/ Sarah Waters:

I recall most vividly the house itself, which struck me as an absolute mansion. I remember its lovely ageing details: the worn red brick, the cockled window glass, the weathered sandstone edgings. They make it look blurred and slightly uncertain–like an ice, I thought, just beginning to melt in the sun.

The Little Stranger/ Sarah Waters

dec 22/WALK

30 minutes, with Delia the dog
neighborhood
30 degrees

I’m surprised at how good I feel after running the most I ever have in a year, and running a marathon and not taking more than a few days break after it. But, even so, I think I should take a little break from running. At the end of my run yesterday, my left leg and hip felt sore and tight, and I don’t want it to get worse. Also, I think it would be nice to walk a little more for the end of the year. So, I’m hoping to take at least a week without running. Can I do it? I’m not sure.

Today’s walk was great. Warm sun! Half-dry sidewalks. Blue sky. Happy dog. Cold, refreshing air. Walking slowly outside in the cold makes me feel calm and a little euphoric, especially when I breathe in deeply through my nose, out through my mouth.

overheard, 3 things, at different times/places:

  1. (not seen, only heard) a man to someone else — that was an excellent church service
  2. (seen and heard) a man parking and getting out of the car in front of a house, someone from the house calling out jokingly — wrong house!
  3. (seen and third) a man running, wheezing or vigorously coughing, then stopping to walk then sounding like he might be heaving

I though briefly about the section of my poem I’m working on. I’ve tentatively titled it, “Ars Poetica,” which is a type of poem about writing poetry. Right now I’m thinking about entanglements and things growing in the aftermath of ruins and erosion and . . . just as I was typing this up, I had more thoughts — mushrooms as the fruit of fungi bursting through asphalt and cracks and as the words that erupt from my practice, but are only part of the making/writing/living of poetry. Below ground, nets/networks, not as firm as roots but creating deep connections just the same to a place. I’ve already written a little about this — I need to find it . . . Found it! 25 april 2022.

Maybe like mushrooms,
we rise. A brief burst
from below, a flare,
then a return to
swim in the dirt

Am I getting too lost with these ideas? I follow them a little further.