5.15 miles franklin loop 44 degrees wind: 15 mph / gusts: 30 mph
So windy! A crosswind heading north towards Franklin, then straight into it heading west over the Lake Street bridge. Cooler too. Wore my running tights and my orange sweatshirt. My left knee felt tight for the first few minutes, then fine for the rest of the run.
Wet and green. Noticed that the floodplain forest is filling in. Last week, bare and brown. Today, an outline of green. The river was gray with ripples. When I looked down at it from the bridge I could tell by the ripples that it was blowing south.
All of the pedestrians I encountered were bundled up in hats and winter coats. One runner was in shorts and white shoes. After he passed me I was mesmerized by his heels floating up and down, up and down, up and down. So smooth and rhythmic.
No eagle on the dead tree branch. Spotted 2 lone black gloves discarded at different parts of the path. Heard one woman talking to another. She said something strange, but I can’t remember what. Heard lots of black capped chickadees but no geese or woodpeckers.
more on wind: According to the Beaufort Scale, today was a 5 — fresh breeze. Brisk? Bracing. Stiff. Not breath-taking but ponytail whipping and energy sapping and eye watering. A few times, it howled in the trees. No dust in eyes or big branches falling from trees, but leaves whirling on the ground. At one point, running across the bridge, I felt like I was being held up by the wind — both slowed down and suspended in mid-air. Running south, with the wind at my back, it felt easier, like the wind was pushing me along.
beaufort scale
Thinking about wind some more and wondering if I shouldn’t narrow my focus to the Beaufort Scale? Maybe try to play around with my own Beaufort Scales. Today, while reviewing Marie Howe’s “The Moment” I thought about gathering lines from poems that fit with the scale. The line in Howe’s poem that Inspired this was the last one:
the white cotton curtains hanging still
The poem is about that moment when everything stands still and is silent. No to-do lists. No traffic. No I-should-bes. With these curtains, I think Howe is referencing sitting silently in her brother’s room, as he was dying. I imagine this moment of stillness as 0 on the Beaufort Scale.
Down dropt the breeze, the sails dropt down, ’Twas sad as sad could be; And we did speak only to break The silence of the sea
All in a hot and copper sky, The bloody Sun, at noon, Right up above the mast did stand, No bigger than the Moon.
Day after day, day after day, We stuck, nor breath nor motion; As idle as a painted ship Upon a painted ocean.
Water, water, every where, And all the boards did shrink; Water, water, every where, Nor any drop to drink.
a bird moment, possibly for my bird project: After I finished my run, walking back on Edmund, I heard 2 black capped chickadees calling back and forth. Their notes were slightly different than I usually hear. By the time I got out my phone to record them, only one chickadee was calling. No response. They kept trying their fee bee call, maybe 5 or 6 times, but no reply.
Hooray for feeling strong and happy and unbothered by the wind! A good run, even though it feels strange with no snow. Scott told me it’s 5 degrees warmer here in Minneapolis than it is where we used to live in Upland, California. Wow.
Starting last night and lingering through the morning: rain. Not snow, but rain. Everything was wet and muddy and slippery. At the end of my run I noticed that I had specks of mud on my shirt — how did that happen?
Around mile 3, as I ran straight into the wind, a biker approached from behind. I heard her call out Fast! I wasn’t sure what to say, so I said, there’s a lot of wind! She agreed. Later I encountered the biker on the ford bridge — she was walking her bike while I was still running — There’s goes that fast runner! I waved and smiled. I did a lot of smiling at every person I encountered.
a strange winter sight: roller skiers, one of them wearing shorts!
Talked with Dave, the Daily Walker about how I’m missing the snow. He agreed, but only when it’s windy and there’s lots of snow and no one else out on the trail. Then it’s fun, he said. His version of fun is one reason why I like Dave so much.
Took 2 pictures of my view. Both are just south of the double bridge and the Horace W.S. Cleveland Overlook. Here’s one of them:
My view from above the gorge: bare limbed trees, all trunk and thin branches. A few trunks are thick — like the one near the center of the image or the one leaning on the left side — but most are thin, creating a transparent screen between runner (me) and river. The ground, in the bottom third of the picture, is mostly dead, curled-up brown leaves. Sometimes, this is what I see even when there aren’t thin, bare branches everywhere — my view slightly obscured by something in the way — dead cone cells, I think — creating fuzz or static or a slight pulsing or wavering of lines. Also, if this picture were in black and white I wouldn’t be able to tell the difference. Often I have to ask Scott: is this in color or black and white?
peripheral: how I see
before the run
Before my run, while I was reviewing my Oct 2023 log entries and encountering several of my “how I see” photos, it came to me: this should be the new version of my vision poems. I want to study the ekphrasis form (An ekphrastic poem is a vivid description of a scene or, more commonly, a work of art. Through the imaginative act of narrating and reflecting on the “action” of a painting or sculpture, the poet may amplify and expand its meaning — def). Then I want to write a series of “how I see” poem/descriptions. These will be about experimenting with the form and exploring ways to describe how I see. I wrote in my notes: not about what I can’t see, but what I can. I’m also interested in experimenting with the idea of alt-text as form — I have a few sources for this. I’ll read some Georgina Kleege and her latest book, More Than Meets the Eye. These poems will be practical — describing the literal way I see — but also poetic — strange, unsettling, more than a report.
I’m thinking that these poems would involve describing what I see in the photo and what I saw when I was taking the photo. Also, they’re as much about HOW I see (the mechanics/process) as WHAT I see. I love this idea; I hope it sticks!
While I ran lots of different thoughts flashed. First I thought about Marie Howe and the idea of observing and not looking away. Describing what you see with details not metaphors. Then I thought about how “looking” works for me, how it’s harder because of what I can and can’t see. How much can any of us (no matter where we are on the spectrum of seeing/blind) actually see? Then I started thinking about Huidobro’s poem, “Natural Forces” and all of the different glances he describes — One glance to shoot down the albatross. What do my different glances see?
right after the run
During my walk back home, I thought more about how I see (and spoke those thoughts into my phone). I was reminded of Robin Wall Kimmerer and her chapter, “Learning to See” in Becoming Moss. It’s about how we can learn to see the small things — like moss — that were invisible to us before.
I also thought about how I’m interested in the process we use to see and how that shapes what we see and how it enhances or detracts from our ability to behold/witness. Yes! This connects back to Ross Gay and beholding, which I discussed on here a few years ago.
I’m interested in how we sense without seeing, or how we see with our other senses (like sound). And I’m interested in thinking about how vision isn’t the primary mode in which we understand and make sense of things. It is only one of many ways, not THE way.
Ekphrasis
The verbal representation of visual representation.
Basically, an ekphrasis is a literary description of art. Like other kinds of imagery, ekphrasis paints a picture with words. What makes it different from something like pictorialism is that the picture it paints is itself a picture: ekphrasis stages an encounter between representations in two mediums, one visual and one verbal.
key feature of an exphrasis poem: it engages with an artistic representation — does this fit for my project? I think so, especially if I make the taking of the photo as part of the description.
Another helpful definition of Ekphrasis from Poets.org:
Ekphrasis is the use of vivid language to describe or respond to a work of visual art.
Feels like spring today. Sun, warm air, less layers. Today: black tights, black shorts, long-sleeved green shirt, orange sweatshirt, hat, buff, headband.
No gloves. No winter jacket. No snow on the path. Lots of birds and darting squirrels and shimmering water.
I felt sore from the 30 minute workout I did yesterday, but not too sore. Maybe I’ll try it a few more times.
Thought about how strange it was to be running in January with no snow and such warm air. It’s not just that it’s warm today — we’ve had warm days in past Januarys, but that it’s been warm like this for 4 or 5 days and will continue to be this warm for the next week. And, there’s no snow. Bad for the trees; they’re starting to bud. RJP came home the other day from school and told me how one of her friends was very scared about the warm weather — we’re all going to be dead by the time we’re 30, he said. How terrible to be coming of age in this time, when statements like this are felt so intensely by so many people.
Yesterday, while rereading my July entries from 2023, I was reminded of Christina Sharpe’s amazing book, Ordinary Notes. I read it while quarantining for COVID. I posted a note from it on July 4th:
I was particularly struck by her discussion of the shift from guilt to grief because Scott and I just watched (on Monday night) a beautiful story on PBS about Rita Davern and her efforts to reckon with her family’s buying of Pike Island, a sacred space for the Dakota people known as Bdote which was illegally “purchased” by Zebulon Pike in 1805. I’m not sure if Rita utters that exact phrase, but the idea of moving from guilt to grief was a big focus. After reading Sharpe’s note again, I decided to find and watch the documentary she mentions, Traces of the Trade. Found it online from my local library — public libraries for the win! — and watched it yesterday afternoon. It was amazing. One thing I kept thinking as I watched it was Marie Howe’s entreaty: don’t look away. Guilt gives us distance and prevents us from witnessing/beholding. Grief enables us to feel — not just the pain of others, but our own pain — the pain of silence, complicity, denial of connection, fear, helplessness.
I’m not a big fan of guily; it’s not helpful as a foundation for ethics or politics. As I thought this, I suddenly remembered a feminist ethicist I read/liked, back in the day: Elizabeth Spelman. She wrote a chapter titled “Good Grief” and it was about ways of grappling with racism. She was critical of guilt as a response — what did she like instead? I’m sure I have the article somewhere. Oh well.
Speaking of rereading old entries, I’ve been encountering the idea of the peripheral a lot lately. It’s giving me the itch to work seriously on some peripheral poems. Maybe this could be the February challenge? Maybe this poem could get me started?
In Praise of Being Peripheral/ Jane Hirshfield
Without philosophy, tragedy, history,
a gray squireel looks very busy.
Light as a soul released from a painting by Bosch, its greens and vermilions stripped off it.
He climbs a tree that is equally ahistoric.
His heart works harder.
This last line about his heart working harder reminds me of something else I’m reading: The Plenitude of Distraction. In it, Marina Can Zuylen argues for the value of distraction. In a bit I read last night she praises how the slowness that distraction demands — wandering through the peripheral and away from one’s central task. Maybe I should read this too — I’ll try; it has a lot of words for my weak eyes.
Ran to Lake Nokomis and back — a December goal achieved! A few weeks ago, I told Scott that I wanted to do that at least once before the end of 2023. Today was a great day to do it. Overcast, mild, hardly any wind. Everything brown and orange and calm. I felt relaxed and strong and only a little sore in my left hip.
Ran above the river, past the falls, over the mustache and duck bridges, by Minnehaha creek and Lake Hiawatha, then to the big beach at Lake Nokomis. I ran down the sidewalk that leads to the lifeguard stand and the water — the sidewalk I often take in the summer just before starting open swim. I thought about summer and swimming, then took this video:
Lake Nokomis / 15 dec 2023 / above the frame, a bird was flying
Ran on Minnehaha Parkway on the way back.
10 Things
several spots in the split rail fence where the railing was bent or leaning or broken
headlights cutting through the pale gray sky
people walking below me on the Winchell Trail
kids laughing on a playground*
the parking lot at the falls had a few more cars in it then earlier in the week
the creek was half frozen — thin sheets of ice everywhere
a woman called out to a dog — liam or sam, I think? — or was she calling out to me, ma’am?
a young girl testing out the thin ice on the edge of the lake — her name was Aubrey — I know this because a woman kept calling out Aubrey! Aubrey! No, don’t! and then, Let’s go Aubrey. I need to eat!
the sidewalk was wet — in some spots, slick
running north on the river road trail, in the groove, an older man on a bike called out, You’re a running machine! I was so surprised I snorted in response
*as I listened to the kids, I thought about how this sound doesn’t really change. Over the years, it comes from different kids, but the sound is the same. Season after season, year after year.
before the run
I’m trying to stop working on my poem about haunting the gorge, but I keep returning to it and just as I believe I have found the way in, another door opens, leading me in a different direction. When do you follow those doors and when do you stop? I worry that I’ll just keep wandering and never settle on/into anything. As I write this, I’m realizing that the question of when to keep moving and when to stop are a central theme of the poem. Here’s a bit of the poem that I wrote the other day that sums it up:
Stone is satisfied water wants to be somewhere else. Sometimes I am water when I want to be stone sometimes I am stone when I need to be water.
What to do with all of this? Maybe a run will help…
during the run
I kept returning to these questions of staying and leaving, moving and standing still. At one point, I started thinking about how nothing really stands still, the movement just happens at different speeds/paces/directions, in different scales of time. I’m interested in slow time, directionless time, time that seems to repeat, drip.
Then I thought about the value of solid (or stable or slow moving) forms in which to put my words. These forms aren’t forever fixed, but are solid enough to hold those words, to shape them into something meaningful.
after the run
Not sure what to do with all of this, but forms I’m thinking about: running form — the running body, breaths, feet; boulders; dripping, seeping, sloping water
Water! Now I thinking about Bruce Lee’s poem, 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
And all the different types of water I encountered on my run: river, dripping ravine, falls, creek, weir, lake, puddle, ice. Different forms with different properties — some flow, some stay
And also Marie Howe’s lines about learning from the lake in “From Nowhere”:
think the sea is a useless teacher, pitching and falling no matter the weather, when our lives are rather lakes
unlocking in a constant and bewildering spring.
And now I’m remembering some lines from a draft of my poem, “Afterglow”:
No longer wanting to be water — formless fluid — but the land that contains it. Solid defined giving shape to the flow.
And finally, it’s time to post a poem I read from Gary Snyder in his collection, Riprap:
Thin Ice/ Gary Snyder
Walking in February A warm day after a long freeze On an old logging road Below Sumas Mountain Cut a walking stick of alder, Looked down through clouds On wet fields of the Nooksack— And stepped on the ice Of a frozen pool across the road. It creaked The white air under Sprang away, long cracks Shot out in the black, My cleated mountain boots Slipped on the hard slick —like thin ice—the sudden Feel of an old phrase made real— Instant of frozen leaf, Icewater, and staff in hand. “Like walking on thin ice—” I yelled back to a friend, It broke and I dropped Eight inches in
note: I just checked and I might have missed something, but I think the last time I ran over 7 miles was on September 21, 2021. I ran 7.2 miles to the bohemian flats. And here’s something interesting: I posted a draft, just finished, of “Afterglow,” with the lines mentioned above included for the first time. Strange how that works.
5 miles bottom of franklin hill and back 50 degrees / wind: 14 mph
Warmer this morning, so I wore shorts without tights, a short-sleeved gray t-shirt, and my orange sweatshirt. At the bottom of the hill when I turned around, I took off the sweatshirt and ran the second half with bare arms and legs. The only part of me that was cold was my ears, from the wind. A good run. Greeted Dave, the Daily Walker:
me: Hi Dave! Dave: Hi Sara! How are you doing today? me: I’m good. How are you? Dave: I’m very good. Thanks for asking.
Today I thought about how both of us almost always say the same thing, but they aren’t empty words. We both are always good when we’re outside, moving; we are our best selves: happy, free, able to forget and to admire everything around us.
10 Things
honking geese, heard not seen, hidden in some brambles
wind chimes, softly ringing at the start of my run
mostly gray and overcast, once sun and my shadow — hello friend!
approaching the Welcoming Oaks, all bare now, a deep red tree — have I ever noticed before that they are a few maples mixed in with the oaks
several of the Welcoming Oaks had broken branches — the branch that remained looked jagged and gnarled
an open view down to the floodplain forest! only a few patches of green
no stones stacked on the ancient boulder
more chickadee dee dees
Daddy Long Legs crossing the street
a slight haze everywhere, covering everything
what the wind can do
A block into my run, the wind picked up and gathered the leaves, pushing them forward. They looked almost like kids running — frantic and fast — towards something fun or away from something boring. This image reminded me of the other day when Scott and I were waiting in the drive-up line at the pharmacy. The wind was pushing an open wrapper. Instead of swirling around, the silver wrapper looked like it was dancing or marching. It didn’t look like a wrapper, but like a bug or some creature that was alive. One more wind/leaves image: Running south, the wind was at my back. A few times it pushed the leaves and we (me and the leaves) raced. I won, of course.
loops, repetitions, projects, time, and echoes
I’m still orbiting around ideas, trying to figure out what to do next. I’m getting closer. I know that it involves my not-yet-finished haunts poems and repetitions and restlessness and the untethering of project from progress, looping and leaving and returning, and time. Time keeps coming up. I’ve thought/written/theorized about time for decades. I even wrote about it in a doctoral exam. On this log, I frequently discuss it — how it drips or disappears when I’m running, my need to slow down the time it takes me to run (pace), rethinking time outside of clocks and the tight boxes of seconds, minutes, hours, trying to imagine time in much larger and longer scales across generations and centuries, Mary Oliver’s eternal vs. ordinary time, Marie Howe’s moments, past present and future Saras, cycles and seasons.
The other day I came across an amazing new endeavor (note: I’m resisting using project here), by Graywolf Press: a series of labs in which several artists come together to discuss, share, collaborate, imagine new possibilities for a theme. The first lab’s theme is time and, as I read through it (I read the transcript first, I’ll listen to their podcast next), I was inspired. Too many ideas to try and write down in this entry. I was particularly struck by Lisa Chen (LC) and her novel (I’m starting it after I finish this entry!), Activities of Daily Living. Here’s how she describes the book:
it’s about this durational artist Tehching Hsieh who was active in downtown New York in the seventies, eighties, nineties. And the, the novel is about a woman named Alice, who’s, has a day job but is trying to make something artistic. And she decides she’s gonna do a project about this artist just because he’s on her mind at the same time that her father is declining from dementia.
And the book is partly organized by going through these six seminal projects that the artist is known for before he stopped making work. And right, so, so the “Time Clock Piece,” he punched a time clock on the hour, every hour for like a year. And he missed, he missed a few. So again, Alice is trying to make a project out of this work so part of it is she’s digging into each of these durational projects and trying to think about what it stimulates or what she can make of it.
In the conversation, LC distinguishes between artist-time and life-time and projects we work on outside of capitalist/work-time. This makes me think of the many discussions I’ve had about being useless and un-productive and engaging in work outside of/in resistance to “the clock.” For me, this sort of time conversation is about what it means to work as an artist — I should return to Mary Oliver and the ways she struggles with this in The Leaf and the Cloud! Haunting questions: what’s the point? but, what does it do?
In the midst of all my thinking about time and progress and projects, I’ve been reflecting on repetitions and echoes in my own work. After rereading an entry from nov 5, 2019, I wrote this in my notes:
Reading through entries from past years on this day and feeling like I could have written/experienced the same thing on a run today — the same river, the same gray sky, the same dying vision, the same words feelings thoughts. This sameness points to a larger time scale and a resistance to progress! and improvement! but I also wonder if it suggests that I’m stuck in the same loop — be outside, move, notice, write. Where is it all going? Does it have to go anywhere? I feel these doubts in these moments when I’m in-between projects, when I have too many doors to enter and I don’t know which one to choose. This tension of restlessness and looping and resisting and in-between and the life of a writer should all be part of this collection. It should be haunted by these themes.
my notes
I also wrote about this theme in an “On This Day” entry this morning:
I’m thinking about my echo discussion for nov 4, 2020 and how an echo repeats but slightly differently each time — fainter or softer or distorted. So much of what I write (and experience) as I move is almost the same from year to year. The view, or lack of view, of the river. The wonderful cold air. How much I love running in the cold. Often I start with, A wonderful run or a beautiful run or another great run. What distinguishes these entries are the small and brief moments and the images they create, like the snow and the bridge. That moment only lasted a few seconds, but it creates the echo here. (if that makes sense.)
Sara, age 49, on November 4, 2023, is thinking a lot of repetition and looping and wondering about the differences between being stuck in a rut of repetition and using the grooves to sing a beautiful song. (not sure if that metaphor works). Put another way: I’ve been doing this practice of moving outside, noticing, writing about it for almost 7 years. So many of the entries contain the same descriptions, or almost the same descriptions. Am I just repeating myself, stuck on the same path, or is each entry an echo, a variation, with (sometimes) slight differences, difficult to discern?
Wow, this is a lot. Right before my run, as I was thinking about all of these things in a kind of jumbled mess, this idea flashed in my head: find the echoes. Start with the moments, over the 7 years of writing in this log, in which I repeat myself (sometimes word for word) and put them together into some sort of chant or small poem or something. Sprinkle them throughout “Haunts.” Mix them in with other examples of echoes — in the geography, the history, the setting? How many echoes can I find?
Warm, but low humidity. Ran later, at 11:30. Some shade, mostly sun. Ran south on the dirt trail between edmund and the river road. Yesterday it was mostly wet and muddy, today dry and dusty. Crossed over to the river road trail, then down to Winchell just before 44th. I don’t remember much about the river except that it was white and very bright. The trees were green and thick. No leaning trunks today. Also no sleeping bodies passed out on the path.
Listened to more acorns dropping — clink clunk thump — and kids yelling as they biked or played at the playground for most of the run. After ascending the 38th street steps, I put in Taylor Swift’s 1989 and she welcomed me to New York.
10 Things
right before starting to run: a dark brown, almost black, squirrel sitting up on its hind legs — did it have an acorn? I couldn’t tell
pale, dusty dirt on the boulevard path
the squeaky groan of the bed of a big truck tilting down to drop off some type of giant machine on the road
passing by a walker on the narrow winchell trail — right behind you! — as water dripped dripped dripped out of the sewer pipe below
running on the tips of my toes as I traveled up the short, very steep grade near folwell
3 or 4 small stones stacked on the ancient boulder by the sprawling oak tree
passing by the old stone steps that lead to the river, the flash of an idea: why not take these steps down to the river? another flash: bugs, heat, no time to stop. So I didn’t
another groups of kids in yellow vests biking on the trail, the leader/adult calling out, stay on your side of the lane!
doing quick steps to avoid the tree roots just barely sticking out of the dirt on the trail at the top of edmund
listening to the line in Taylor Swift’s “Bad Blood”: Did you have to do this? I was thinking that you could be trusted Did you have to ruin what was shiny? Now it’s all rusted and thinking about shiny vs. rusted, and rust in the fall, then I noticed some rust on one of the big metal tubes all around the neighborhood that the city is using for their sewer work — Scott says these tubes get placed vertically in the ground and the workers stand in them as they do their work
I couldn’t tell one song from another, which bird said what or to whom or for what reason. The oak tree seemed to be writing something using very few words.
I couldn’t decide which door to open—they looked the same, or what would happen when I did reach out and turn a knob. I thought I was safe, standing there, but my death remembered
its date: only so many summer nights still stood before me, full moon, waning moon, October mornings: what to make of them? which door?
I couldn’t tell which stars were which or how far away any one of them was, or which were still burning or not—their light moving through space like a long late train,
and I’ve lived on this earth so long, 50 winters, 50 springs and summers, and all this time stars have stood in the sky—in daylight when I couldn’t see them, and
at night, when most nights I didn’t look.
This idea that stars are there all the time, even in the day when we can’t see them, seems to be (at least in my limited experience) a favorite of poets. Also: the moon!, the fact that stars are dead by the time we see them, so we’re looking at ghosts, and the realization that ponies are not baby horses (I encountered this revelation, sometimes with the annoying phrase, I was today years old when I realized that ponies aren’t baby horses, from poetry people). All of these, sources of wonder and delight. I suppose they are for me, well maybe not the horses/ponies thing.
Currently I’m reading Andrew Leland’s The Country of the Blind and it’s amazing. His descriptions of becoming blind, or being in this state of living while losing sight, not living with lost sight, resonate a lot for me, especially the idea of doubting your own vision loss and his experiences with eye doctors:
(note: I didn’t have time to transcribe this page, but I will come back to do it and put in alt text for others who already can’t see the image, and for me who will soon not be able to.
swim: 3 swell loops lake nokomis open swim 82 degrees
So many swells in the water today. For most of it, I felt like I was being pulled down into the water. Not very buoyant. I wondered if I would able to do 3 loops. But as I got deeper into the swim, I felt stronger and more able to keep going.
10 Things
little minnows near the shore — hello friends!
being rocked — not roughly or gently but in a way that made it difficult to push through the water
getting stuck behind a woman swimming backstroke and getting way off course — is she swimming backstroke? is that the green buoy, way over there?
racing a wetsuit on the back end of the first loop. Did he realize we were racing, or was it just me? I won
the far orange buoy was much closer to the little beach than it has been all season
spotted one swan, no sail boat or wandering canoes
sighting other swimmers by the bubbles their feet made under the water
the orange buoys looked like they had white patches as I got closer to them — the sun was shining extra bright on them, I guess
no birds or planes that I remember but one zooming dragonfly
felt like I was on a people mover for the last stretch between the last green buoy and first orange one — swimming so fast, pushed along by the swells behind me
Recited Mary Oliver’s “Swimming, One Day in August” in my head as I swam the last loop and realized something. She writes:
Something had pestered me so much that I felt like my heart would break. I mean, the mechanical part.
The mechanical part? I realized that her heart breaking is a good thing here and that her mechanical heart is the one that follows the beat of organized, tightly contained time, broken down into hours and minutes and seconds so we can be as efficient and productive as possible. Yes! Swimming in the lake can break me open and out of time’s rigid boxes.
Warm this morning, but it didn’t feel miserably hot, probably because I was able to be in the shade for most of the run. So much wonderful shade, so many friendly shadows! Ran south above, north below, on the Winchell Trail. Didn’t look at the river much, even when I was closer to it. One glance: between the thickening trees near the southern entrance of the Winchell Trail, I saw a small patch of sparkling water.
today’s color: the blue of the blue jay (I think it was a blue joy) that flashed past me as I rounded the curve at 42nd. Normally I can’t see the color of birds, and I’m not sure if you’d call what I saw seeing, more like the idea of blue or a voice calling out, blue! What kind of blue was it? Not deep or dark but light and intense, almost glowing. But not pale blue — somewhere in-between dark and light.
10 Things I Noticed
the shadow of tree sprawled across the path
the steady flow of water coming out of the sewer pipe near 42
the clicking and clacking of roller skier’s poles up above me near folwell
passing 2 walkers and hearing one of them say walk or should be walking or something like that
the steady stream of cars driving by
a few kids’ voices at the playground
the flash of a white t-shirt up ahead on the trail, then disappearing around the bend
leaning trees creating archways to pass through in several spots on the winchell trail
cottonwood fuzz on the edges of the trail
the metal slats in the ravine were slick and slippery
Mary Ruefle on Eavesdropping, You, and Unhitching in “On Sentimentality”
before the run
Today’s the last day of May and my last day with Mary Ruefle. I just finished reading/skimming her lecture, “On Sentimentality.”
Eavesdropping: In response to a poet who criticizes and laments the too frequent use of a generic You in poetry as too passive, turning us into observers, mere eavesdroppers, Ruefle asks: What’s wrong with eavesdropping? I agree. Today during my run, eavesdrop. Listen in on conversations between birds, the river and the sky, walkers.
YOU: What kind of subject are you (or is You)? And, if you are You, then who is the I? The path, a shadow, that tree? Think about this as you run beside the river.
unhitching: to crudely paraphrase Lévi-Strauss, 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. In your run above the gorge, near the river, below the trees, can you unhitch?
during the run
In spite of the warm conditions, I managed to wonder about/wander through or with all 3 of these! A little bit of eavesdropping, some unhitching or at least thinking about how/where unhitching is possible, and becoming a You.
All of these ideas were simmering in my mind the entire time I ran, but I had a breakthrough in the second mile as I passed a walker and a dog on the Winchell Trail. They noticed me before I reached them and moved to the side. I said thank you and the woman replied you’re welcome. As I continued running on the steep-ish trail with no railing I thought about how when I said thank you, I was the I, she was the you. But when she answered you’re welcome, I become the you and she the I. Each of us both. Then I started thinking about the space and time between when we each embodied the pronoun, before my I turned into a you or her you into and I. This is the space of possibility where unhitching can happen, when we can be both a you and an I or something else that doesn’t divide and separate or assign us a fixed role — as active I or passive you. A moment when we can experience or behold the is below the threshold of thought, over and above society and its constructs. Not long after thinking these things, I encountered the blue flash of the bird and it felt magical.
I wanted to hold onto these ideas so I eventually stopped in the ravine, just past the oak savanna, to record my thoughts.
we exchanged the You. First they were the you, then I was, but there was some time in-between before we switched from I to you or you to I that was undetermined or both or nothing and that it’s those moments where we have the opportunity to unhitch.
the immeasurable or barely measurable lag between what we do, what we feel, what we hear, what we see, and our brain and as it travels to the brain then travels back out in whatever form. That is where those moments occur. (I’m thinking about a Radiolab episode I listened to last year)
thoughts recording during my run
And, a few minutes later, after my run was done, I recorded a few more thoughts:
Instead of lamenting the loss of what we once were like in Marie Howe’s “Singularity,” what if we gave more attention to the possibilities that exist in those spaces between the You and the I? Those moments of unhitching …And I was thinking about Robin Wall Kimmerer and the moss again and this idea of enough-ness, being satisfied with the small moments. Not trying to get more, to be more, but to just be, or to not be, or to be passive.
Not an observer or eavesdropper as someone who is spying on, staring at, invading the space of others. Not a lurker, as in lurking troll. Is there another way to understand how to notice the world passively? An absorber? Not a lurker, but a dweller?
thoughts recorded after my run
After my run, I also recorded myself reciting a poem that memorized a few years ago and was trying to keep fresh as one of my 100 poems memorized: Natural Forces/Vincente Huidobro. I almost got every word correct.
after the run
Such a great run, with so many interesting ideas! Arriving home and then trying to put the feeling of the run and the feeling of my thoughts into words, dulled some of the shine. It’s hard to find the right best proper most profound complete words to translate the experience. I didn’t want to lose so many great ideas and the moments of clarity. Then, another thought: what if the goal was not to accurately or exhaustively remember and then record my thoughts and feelings, but to hold onto those feelings and allow them to shift my perspective. I’m not sure that makes sense, but it did to me when I first thought it.
I have enjoyed reading Ruefle all this month. I’ve gotten to know her a little bit better and been able to wander in many different directions. I’ve also experimented with a new way of engaging with ideas/authors/writings. As an academic, I used to spend hours trying to effectively (and comprehensively) summarize the argument of a piece of writing. This summary, what one of my profs called appreciation, was always the first step. With Ruefle, attempting to lay out her entire argument in a neat and logical way doesn’t work. Why try to pin down her wild and wandering thoughts in such a way? Why waste all of my energy trying to summarize something that shouldn’t be summarized? So instead, I’ve been trying to engage with the little bits and bobs (thanks British TV for reminding me of this wonderful phrase!) that resonate for me. For me the point is not to KNOW these poems and lectures and essays by Ruefle but to FEEL them in small and big ways.
Some other ideas in “On Sentimentality” that I want to store away for future Sara:
I You They are invented devices
The words I, and you, and they, are grammatical devices invented simply for arrangement and totally devoid of the intense and exclusive sense usually attributed to them.
“On Life”/ Percy Shelley, quoted in Ruefle’s MRH, page 32
on vague Yous and John Keats’ “This Living Hand”
The poem is nothing but a gigantic, disembodied hand pointing a finger at someone. That finger is a magnet and a conductor: it reaches out to the vague, ill-defined you like God reaching within an inch of Adam, and it charges the reader with all the responsibility in the world: go figure these things out for yourself, while you still have blood in your veins.
page 35
another definition of poetry
a good poem is seldom comfortable; either it vanquishes us with anguish or electrifies us with ecstasy or makes us pause and consider a new sense of the world or unravels us altogether, but never does it make us feel comfortable in the fashing of these ads [part of a discussion about an ad that used the phrase, the poetry of knits].
pages 46-47
unhitching
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 conntemplating 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
Returning again to the ideas of You and I and We and Us, I wonder if some of my thoughts were influenced by a poem I read while drinking my coffee:
For today’s run, I decided to go past the falls to Longfellow Gardens. Since I was reading Mary Ruefle’s prose poem about purple sadness, my plan was to visit my favorite purple flowers. When I reached the gardens I discovered that they haven’t been planted yet. Thanks strange spring with your late snow storms and unending cold weather in April!
Another one of those wonderful spring days with sunshine and birdsong. A week ago I would have added “no bugs,” but they’ve arrived. All this week, mosquitoes have been feasting on my elbows, under my knees, my wrist. Today a gnat died on the side of my nose. I could see it through my peripheral vision. Another flew into my eye. Yuck!
My right big toe hurt again for a few minutes, then it was fine.
Heard the wind, water gushing out of the sewer pipes, the falls roaring, kids laughing at the playground, one little kid in a stroller that was over everything, a giant mower or weed whacker or some other noisy machine near the Longfellow House.
Smelled cigarette smoke as I passed a guy on the trail. Was he smoking or was it just his clothes?
surfaces: tightly packed dirt, half buried tree roots, grass, hay, asphalt, concrete, road, street, sidewalk, brick, dead leaves, crumbling asphalt — some mostly asphalt, some with big chunks of asphalt mixed with leaves and dirt, some rubble, limestone steps
Mary Ruefle, Immortal Cupboards, Windows, Offerings, and a Purple Wood
Today I’m reading Ruefle’s lecture, “My Emily Dickinson” and her purple sadness poem.
immortal cupboards
J. D. Salinger once remarked, “A writer, when he’s asked to discuss his craft, ought to get up and call out in a loud voice just the names of the writers he loves…”
“My Emily Dickinson” / Mary Ruefle, page 150
That lovely little book. I’ve had nothing affect me quite so much since I discovered haiku. But then you come from Japan! You now inhabit a corner of my immortal cupboard with LZ (especially the short poems), Emily Dickinson, Thoreau, Lucretius, Marcus Aurelius, John Muir, bits from Santayana, D.H. Lawrence, Dahlberg, William Carlos Williams, and haiku. These knew “when / to listen / what falls / glistens now / in the ear.”
Emily Dickinson is also in my immortal cupboard, along with Mary Oliver, Lorine Niedecker, Marie Howe, possibly Alice Oswald, definitely Rita Dove.
windows
Emily Dickinson often looked out of her bedroom window, and many of her poems, if not her worldview, seem framed by this fact; so much has been made of this there is little I can add; to argue whether a window is the emblem of complete objectivity (removal and distance) or complete subjectivity (framing and viewpoint) is an argument without end, for every window has two sides, and they are subsumed in the window, the way yearning, a subsidiary of the window, is subsumed in both the object yearned for, and the subject of its own activity.
“My Emily Dickinson”/ Mary Ruefle, page 151
offerings
But she has a common grave, and I like to go there and leave things, and when I did, I see that many other people have done the same.
“My Emily Dickinson” / Mary Ruefle, page 182
list of offerings left (real or imagined) throughout Ruefle’s lecture:
a stone, a penny, a small bronze alien
two plastic champagne glasses, pink and purple larkspur, an ear
a lemon, a dime, a diamond ring, a parachute
a white rose, a fortune-telling passionate fish, ice cream for astronauts
a sheaf of flowers from the florist with a thank-you note attached, a plastic fly, a nickel, an egg
A stick of gum wrapped in foil. A shard of glass.
a plastic watch, a feather, some Kleenex
Nothing.
lilacs, a spool of thread, a book of matches, a mood ring
an envelope, addressed but otherwise empty, a piece of gum in silver paper, a packet of nasturtium seeds, and a button
a thimble, an acorn, a quarter, and many, many daffodils
yellow snapdragons. A robin made of tin. A child’s block with the letter E. A pen. A pinecone. A tiny hat. An Austrailian coin.
a paratrooper, a cork
s piece of coal, a candle stub, a chrysanthemum
a small gargoyle, a rubber heart, an old key, a guitar pick a sequin, a sprig of heather, and a piece of hair
A doorknob.
a purple wood
A lane of yellow led the eye Unto a Purple Wood Whose soft inhabitants to be Surpasses solitude (Emily Dickinson)
from My Private Property/ Mary Ruefle
Purple sadness is the sadness of classical music and eggplant, the stroke of midnight, human organs, ports cut off for a part of every year, words with too many meanings, incense, insomnia, and the crescent moon. It is the sadness of play money, and icebergs seen from a canoe. It is possible to dance to purple sadness, though slowly, as slowly as it takes to dig a pit to hold a sleeping giant. Purple sadness is pervasive, and goes deeper into the interior than the world’s greatest nickel deposits, or any other sadness on earth. It is the sadness of depositories, and heels echoing down a long corridor, it it the sound of your mother closing the door at night, leaving you alone.
Just discovered how the ends of her lines create another poem:
Stroke words it is possible to dig a pit deeper into sadness a long leaving
The last words, leaving you alone, reminds me of Ruefle’s discussion of Emily Bronté, and Emily Dickinson in My Emily Dickinson:
Emily Dickinson never lived alone for a single day in her life. Emily Bronté never lived alone for a single day in her life.
before the run
Today on my run, I want to think about purple, and I plan to run the 2+ miles it takes to get to longfellow gardens where some of my favorite purple flowers dwell (or have dwelled in past springs). What are these flowers called? I have no idea.
other purples to think about: heels echoing, doors creaking closed, deep pits.
during the run
No flowers. well, I did find some flowers that were white, but looked like they could be or would be or should be turning purple. Also, a reddish-purple plant. I took some pictures:
tiny purple flowers (if you really believe)a reddish, purplish plant
I can’t really see any purple in these, or much of anything, but maybe you can?
Other purple things I remember encountering: the gentle, queer curve of a branch towering over the trail — as I ran under it I thought, that’s very purple. Then the face of a child in the midst of bellowing frustration — I didn’t see their face, but I imagined it could be a deep purple. Purple whispers in the trees.
No purple cars or shirts or shoes or bikes or signs or birds or left behind objects in the grass. Mostly just green and blue.
after the run
Apparently the leaving of strange offerings at Emily Dickinson’s grave is a thing. In her play on Susan Howe’s My Emily Dickinson and Ruefle’s My Emily Dickinson, Meg Shevenock writes, in My My Emily Dickinson:
Then, there’s this: after visiting Emily’s house, my friends and I made a small parade to visit her grave, and the objects I knew would be there, were there. Best of all, a white plastic pen with white cap from a hotel. Or best of all, a blue pencil cracked and dried, that had weathered so much snow. We all want her to say more, write more, about who she was; or, we want to say, I get it, I’m a writer too, and we also know it’s impossible, so we leave an object from the world, from a day long beyond her breathing, to get as close to touching as stone.
The first outdoor bike of the year! I’m always anxious, not knowing how much I’ll be able to see on my earliest bike rides of the season, but today was fine. Hooray! Not scared at all, nothing popping up unexpectedly. okay, maybe once when I was focusing on a bike that was approaching from far off, I didn’t notice another bike that was much closer to me. I was more concerned with my tires, which NEED to be replaced; they’ve been leaking air for a few years now. They were fine too. Several times during the bike ride I had a big smile on my face as I thought, I can still bike! then, I get to bike to the lake and swim across it all summer!
10 Things I Noticed
the wind was rushing in and past my ears as I biked south
several bikers on fat tires — I wondered why. Do they know something about the road conditions that I don’t?
the port-a-potties at the falls for the race this past weekend were still there, so were the detour signs
the duck bridge is temporarily gone — it’s being repaired until ? As I biked by, I noticed a chainlink fence and an asphalt trail abruptly ending where the bridge should be — now that’s an image for one of my nightmares!
squeak squeak squeak On your left — some squeaking bikes approaching from behind, then passing me just past the duck bridge
the lake — open water, but not empty water — some people already swimming
the safety boat — a silvery white beacon across the lake
the surreys (Scott’s nemesis) were lining the trail, ready to torment him
an older guy, sitting in a lawn chair at the beach, telling someone a story about how his baseball card collection isn’t worth anything — he said, you might as well throw it all away. — even this card? it should be worth something?! Nope
an even older guy stopping a woman in a bikini walking by and talking at (not to) her about how there aren’t any lifeguards. Couldn’t quite tell what he was saying, but I assume he meant, but there should be! If he had asked me, I would have said — the season doesn’t start until next weekend and who will you be able to hire this early in the year?
Mowed the front yard, raked some fallen branches, pulled the irritating garlic mustard that erupts every spring. Least favorite thing about it: it always comes back. Most favorite thing about it: it’s satisfyingly easy to pull; it just pops right out! Listened to an audiobook — the 2nd in a murder mystery series where Agatha Christie’s bff and head housekeeper solves murders. This one’s called, A Trace Poison.
I like mowing the lawn with our reel mower. (I didn’t know that it was called a reel mower. Last summer, when I asked the guy working at the store for help I thought he said real mower, and then I thought, as my daughter would say, he gets it. Yes, the only kind of mower to get is a hand-powered one and not a loud, huge monster mower. But no, he just meant a mower with a reel, a reel mower.) Anyway, it’s fun to be outside, and it’s a chance to move while I listen to my book. Unfortunately, as my vision gets worse (and our yard does too), it’s harder to see where I’ve mowed and where I’ve missed. My aesthetic has always been “almost-chic” or that’s good enough, so I don’t mind, but I think Scott might. So this summer, FWA will have to mow, and I’ll stick to pulling weeds.
Mary Ruefle and not knowing or knowing nothing
Today I finally arrived at the part in Madness, Rack, and Honey in which Mary Ruefle uses one of my favorite quotes of hers, a quote that was an inspiration for my “Bewildered” poem:
The difference between myself and a student is that I am better at not knowing what I am doing.
“Short Lecture on Socrates,” page 250
I am almost positive I did read this exact passage when I checked out this book from the library, but maybe I didn’t? Anyway, reading Ruefle’s book was much later after I had already encountered the quote and fallen in love with the idea of being better at not knowing. I first read it in an article about bewilderment, Less Than Certain. I had no idea (or no memory of it, at least) that the quote is in a lecture about Socrates and the unknowingness/not knowing/knowing nothing as the foundation of Western civilization. Wow. I forgot to take my own advice to always think about the larger context of a quote that I want to use!
Reading this small lecture, recognizing that we know nothing seems to be about humility. Recognizing the limits of what you do or can know. Not believing you can know everything. In another article on this topic that mentions Ruefle’s quote, Jack Underwood echoes this:
What interests me about poetry is that rather than looking up for answers, it tends to lead us back indoors, to the mirror, as if seeing ourselves reflected within its frame, confused, gawping, empty-eyed, and scalded by circumstance, might re-teach us the lesson: that meaning presents itself precisely as a question — therefore, you can’t entertain it by seeking to answer it. Imagine! The old, old universe, arranging itself legibly into a puzzle that our small brains might be qualified to solve with the knowledge we can accrue from our small corner of its tablecloth. Solving the mysteries of the universe: isn’t that just the most arrogant, preposterous thing you ever heard? The idea of there being some sort of Answer to Everything is an admirable feat of imagination but also displays a woeful lack of it.
Even as I appreciate the importance of humility, I like thinking about this not knowing or knowing nothing in other ways.
Not knowing as an action. To actively not know something. This could mean unlearning it, to be engaged in the act of not knowing it or divesting (disinvesting?) from it. Or it could mean willful ignorance — a refusal to know some fact, someone. I choose to not know! It could be Mary Ruefle’s wonder from “On Secrets” — I would rather wonder than know. Or it could my moment or many moments of refusing to conceal my not knowing to others, to admit/embrace/accept that I can’t see that bird, right over there, that you are pointing out to me.
Knowing nothing as knowing the thing, or things, that is/are nothing, where nothing is a space where time is stopped or where productivity doesn’t happen (Ross Gay). Or where nothing is the Void, the absence, the blank space around which we orbit, trying to find meaning or possibility or connection. Or where nothing is Marie Howe’s singularity:
No I, no We, no one. No was No verb no noun only a tiny tiny dot brimming with
The perfect temperature for a spring run. The light looked strange. Filtered through trees, clouds, haze? it looked almost pink or light orangish-pink. I liked it. Everything, everywhere thick with green.
note, 19 may, 2023: talked with Scott and RJP about the strange light, which has continued: forest fires
I greeted the Welcoming Oaks and good morninged Mr. Morning! and another regular — did I ever name him? Maybe it was Mr. Holiday?
I chanted in triple berries to keep a steady rhythm — strawberry blueberry raspberry — and tried to stop thinking or noticing anything, to just be on the path, moving and breathing. What did I notice anyway?
10 Things I Noticed When I Wasn’t Noticing
2 stones stacked on the ancient boulder
down in the flats, the river was moving fast. I tried to race it
white foam on the river, under the I-94 bridge I thought (or hoped?) it was a rowing shell
a fat tire bike sped down the franklin hill, abruptly turned at annie young meadow and almost ran into a parked car, then called out to the guy in the car — his friend — Hey!
the bucket of a big crane curled under the franklin bridge with a worker in it, studying the underside of the bridge
a guy walking on edmund in a bright yellow vest, no other vest wearers or official vehicles in sight
a runner coming down the other franklin hill — the one near the dog park — then entering the river road trail 25 yards? ahead of me
smell: pot, down in the flats
a woman stopped at the edge of the trail, looking through a camera lens at a tree on the other side of the road. I thought about calling out, what’s in the tree?, but didn’t
the weeds on the edge of the trail, poking out of cracks in the asphalt looked monstrous — now I can’t remember what I thought they were at first, just not weeds
bonus: a turkey! chilling in the grassy boulevard between edmund and the river road
I don’t really remember what I heard as I ran without headphones toward franklin. After stopping 3/4 of the way up the hill to walk, I put in music. I thought I put in Lizzo’s Special but I must have forgot to tap something because when I hit the play button it was Dear Evan Hansen again. Oh well.
Mary Ruefle, “Madness, Rack, and Honey”
Last night during Scott’s community jazz band rehearsal, after our regular community band rehearsal, when I sit for an hour and try to read or write or think about my poetry, I started Ruefle’s titular lecture (is that the correct way to use titular?). Now, after my run, I’m back at it again. This lecture is a chewy bagel and I’m determined to not spend too much time on it.
The title is strange — what does she mean by madness, rack, and honey? — and I was pleased to discover that she devotes the lecture to explaining the title. She begins with a Persian poem:
I shall not finish my poem. What I have written is so sweet The flies are beginning to torment me.
honey:
It is so simple and clear: the “figurative” sweetness of the author’s verse has become honey, causing “literal” flies to swarm on the page or in around the autor’s ead. This is truly the Word made flesh, the fictive made real, water into wine. That is the honey of poetry: the miracle of its transformation, which is that of creation: once there was a blank page–scary!–now there is something in its place that is attracting flies. Anyone who has not experienced the joy, pleasure, transport, and who has not experienced the joy, pleasure, transport, and sweetness of writing poems has not written poems.
pages 130-131
rack:
Enter the flies who feast. For the poem clearly reminds us that honey has complications–those flies are beginning to torment the poet. Torment, pain, torture, is what I mean by the rack.
page 134
It is what poetry does to the world, what poets do with words, and what words will do to a poet. And that’s the rack of it. And if you have never experienced the rack while working on a poem then you have have never worked on a poem. Have you never put language in an extenuating circumstance with dangerous limits until an acute physical sensation results?
page 135
And, if I have time, I’ll return for madness later today.
One more thing to post before I go eat lunch. Instead of posting the poem, which I also like, I’m only posting the poet’s explanation of it.
“Sometimes you hear a word as if for the first time, a word you’ve been saying your whole life. I don’t know what in the brain allows the word, in that moment, to reveal itself, but it always makes me feel very smart and very foolish at once. This poem was written during the period when I had just gotten into gardening and was gaining a new appreciation for everything—food, nature, and time. I wonder what else is waiting to reveal itself to me in such a way, and whether I’ll be distracted enough to receive it.” —Jeremy Radin
Now I’m thinking of the opening lines from Marie Howe’s “The Meadow”: As we walk into words that have waitedfor us to enter them…is this idea of walking into words similar to words (and new meanings) revealing themselves to us? As I write this question, I’m reminded of a Mary Ruefle piece in My Private Property: “In the Forest”
When I wander in the forest I am drawn towards language, I see meaning is quaintly hidden, shooting up in dark wet woods, by roots of trees, old walls, among dead leaves…
page 74
And these lines helped me to remember a thought I had as I ran this morning on the part of the pedestrian path that dips below the bike path, the two separated by a slight rise and some bushes. When I first started to run this trail, almost 10 years ago, I was a little afraid of taking this lower trail. It was hidden from the road and other people and I wondered if someone might be lurking, waiting for me. Today I thought, how could I have been afraid of this short part of the path, only hidden from view for a few seconds? It does seem ridiculous.
