Tag: Maggie Smith

jan 20/RUN

4.35 miles
minnehaha falls and back
5 degrees

Back outside! Cold, but much warmer than Tuesday. Low (ish) wind, plenty of sunshine, clear paths. I felt a little tired and sore, but still happy to be outside. Was planning to do my usual routine of running without music, then putting some in at my favorite spot by the falls, but I forgot my headphones. Oh well, if I had been listening to music I might not have heard a goose honking.

10 Things

  1. startled some birds in the brush on the path near the ramp that winds down to the falls bridge — some rustling noises, then a silver flash as the sun caught the feathers on one of the bird’s wings — it reminded me of Eamon Grennan’s line about a lark’s silver trail in Lark-luster or EDickinson’s silver seam in A Bird, came down the Walk
  2. the falls were hidden behind columns of ice
  3. a few people (3 or 4?) walking on the frozen creek, admiring the falls from up close
  4. falling water sound: tinkling, sprinkling, shimmering
  5. the creek was frozen over, with just a few open spots where the water flowed beneath it
  6. running past the stretch of woods near the ford bridge — all the leaves are gone, the small rise up to the bridge fully visible
  7. crunch crunch crunch as my feet struck the ground — not slippery or hard or too soft
  8. my shadow, sharp lines, solid, dark, lamp post shadow, softer, fuzzier
  9. the rhythm of a faster runner’s legs as they passed me — a steady lift lift lift — so graceful
  10. a lone geese honking — not seen, only heard

Somewhere near the Horace Cleveland overlook (near the double bridge), I thought about interiors and exteriors and how you can look in or out of windows and then outside as the abstract/thinking/theorizing/writing and inside as the body. I want to remove the barrier between these, to mix writing with being/doing/moving as a body. Then lines from Maggie Smith’s “Threshold” popped into my head: You want a door you can be on both sides of at once. You want to be on both sides of here and there now and then…Yes, I do.

added 21 jan 2024: Reading through a past entry this morning I suddenly remembered the black capped chickadee calling out their fee bee song so loudly as I ran up the hill between locks and dam no. 1 and the double bridge. Wow! I recall thinking they were in beast mode (a reference to Michael Brecker and how some people describe his playing).

Jane Hirshfield’s Ten Windows, Chapter 6 (Close Reading: Windows)

Many good poems have a kind of window-moment in them–they change their direction of gaze in a way that suddenly opens a broadened landscape of meaning and feeling. Encountering such a moment, the reader breathes in some new infusion, as steeply perceptible as any physical window’s increase of light, scent, sound, or air. The gesture is one of lifting, unlatching, releasing; mind and attention swing open to new-peeled vistas.

windows offer an opening, a broadened landscape, fresh air, a lifting, unlatching, releasing, expansion, an escape or a way into somewhere else

In this chapter, Hirshfield does a close reading of ED’s “We Grow Accustomed to the Dark” — yes!

I have called the third stanza (And so of larger — Darkness –/Those Evenings of the Brain –) the poem’s first window, but for me, the true window in Dickinson’s poem is contained in one word; its quick, penultimate, slipped-in “almost.” (And Life steps almost straight). The effect is so disguised it feels more truly trap-door than window: On this close-to-weightless “almost,” the poem’s assurance stumbles, catches. Its two syllables carry the knowledge that there are events in our lives from which no recovery is possible.

I love Emily Dickinson’s almost in this poem. The space it gives — the possibilities — for living your life otherwise. It seems that Hirshfield reads this almost as unfortunate — you almost made it back to your normal life after the darkness, but not quite. I don’t. There’s so much room (and a lot less pressure) in the almost! So much to write about this idea, so little time right now.

In the chapter, Hirshfield references a “popular” Dickinson poem that I’ve never encountered before:

The Brain — is wider than the Sky — (1863) J632/ Emily Dickinson

The Brain — is wider than the Sky —
For — put them side by side —
The one the other will contain
With ease — and You — beside —

The Brain is deeper than the sea —
For — hold them — Blue to Blue —
The one the other will absorb —
As Sponges — Buckets — do —

The Brain is just the weight of God —
For — Heft them — Pound for Pound —
And they will differ — if they do —
As Syllable from Sound —

I’d like to put this into conversation with my mid-run ideas about the body and the mind — maybe add Mary Oliver’s ideas about the difference between a poem and the world from The Leaf and the Cloud too.

august 5/RUN

run: 3.1 miles
2 trails the no-stress way
69 degrees
dew point: 64

Decided to try a variation on the 2 trails that would hopefully not be as stressful as the way I’ve been going this summer. Instead of heading south on the river road trail, which involves battling cars at the 4 way stop at 35th, and then avoiding pairs or packs of runners and speeding, crowding bikers, I ran on the grassy boulevard between Edmund and the River Road. I crossed over to the trail at 42nd and only had to run up above, on the more crowded trail, for 2 or 3 minutes. Much better! Love (for other runners and bikers + running by the gorge) restored, irritation avoided. Nice.

Shortly before starting my run, it had rained briefly. Not even enough to dampen all of the ground, everywhere patches of dry, parched dirt. Enough to make it all feel wet though, and to hear sprinkling coming out of the sewer instead of just trickling or dribbling.

Ran by the house on Edmund that posts poems in their front windows. No new poems today. Still 3 poems by June Jordan.

As I ran north on the lower trail, I started thinking about my vision. I imagined that I might need a white cane sometime in my 50s and I thought that it won’t bother me. Well, some parts of it will bother me, I’m sure, but I won’t worry about what other people think.

Yesterday at the eye doctor, during one of the tests the doctor said, “Now, this is the worst part.” It wasn’t bad at all for me, so I asked, “Why is this the worst part? It didn’t bother me at all.” He responded, “That’s because you don’t have any cone cells left.” He was shining a super bright light directly into the center of my eyes. For anyone with “normal” vision, the light would have been painfully bright. I’m glad I learned to ask. It’s helpful to know–a little disturbing too to think about how few cones I have left, and how dead the central vision in my eyes is.

It’s Thursday, so usually I’d be doing open swim too but the threat of a severe thunderstorm forced them to cancel. No storm. Bummer.

This month I’m thinking about love. In particular, I’m trying to think about love in new ways, beyond the clichés of what it means to love and how we represent that love. Here are 2 poems that complicate the ultimate symbol of love, the heart. Before posting them I just want to add, in my most grumpiest voice: I really don’t like the heart gesture that so many athletes are making with their hands at the Olympics as a way to signal their love to friends and family back home. Bring back Carol Burnett’s tug of the ear, I say! Much more personal and meaningful than the trendy, empty gesture of the hand-heart, popularized by Taylor Swift in the 2010s. I read that she tested out several different gestures on her audience and stuck with this one when it got the biggest response. Expression of love focus-grouped. I mentioned my complaint to my daughter and she showed me the heart hand signal that her favorite band, BTS, does. A fist with 2 fingers crossed. To me it looked like an actual heart with the fingers representing the aorta. Probably not, but I thought it was cooler.

Heart/ Maggie Smith

A child of, say, six knows you’re not the shape
she’s learned to make by drawing half along a fold,
cutting, then opening. Where do you open?

Where do you carry your dead? There’s no locket
for that–hinged, hanging on a chain that greens
your throat. And the dead inside you, don’t you
hear them breathing? You must have a hole
they can press their gray lips to. If you open–
when you open–will we find them folded inside?
In what shape? I mean what cut shape is made
whole by opening? I mean beside the heart.

Heart to Heart/ Rita Dove –

It’s neither red
nor sweet.
It doesn’t melt
or turn over,
break or harden,
so it can’t feel
pain,
yearning,
regret.

It doesn’t have
a tip to spin on,
it isn’t even
shapely—
just a thick clutch
of muscle,
lopsided,
mute. Still,
I feel it inside
its cage sounding
a dull tattoo:
I want, I want—

but I can’t open it:
there’s no key.
I can’t wear it
on my sleeve,
or tell you from
the bottom of it
how I feel. Here,
it’s all yours, now—
but you’ll have
to take me,
too.

Rita Dove and Maggie Smith are two of my favorite poets.