Tag: morning

march 24/RUN

4 miles
river road, north/south
32 degrees

A beautiful morning for a run! Wind in my face as I ran north, at my back heading south. Bright sun, sharp shadows, deep blue almost purple river. Raced a wind whirled leaf and won. Greeted Dave, the Daily Walker. Heard voices down in the gorge. Noticed ice on the edges of white sands beach. Thanked a man for stopping to let me run past and he kindly replied, you’re welcome miss. He was listening to music without headphones and carrying a bag of something — groceries? More than one of the benches was occupied. Encountered runners and walkers, a biker and a roller skier. In the last mile, I zoomed past someone running down the hill and under the lake street bridge.

I did my beats experiment again today.

mile 1: triples — open door / open door/ go inside / go inside / go outside / go outside / hello friend / hello friend / old oak tree / strawberry / opening / up the hill / on my toes / forest floor

mile 2: started with the metronome set to 180 bpm, but that was too fast. Locked in with 175. By the end of the mile I barely felt my feet strike the ground, only heard the beat — I had made it inside of the beat!

mile 3-4: doin’ time playlist. The first song was “Time Stand Still“/ Rush. The first line: “I turn my back to the wind” I heard this as I was running with the wind at my back.

Freeze this moment
A little bit longer
Make each sensation
A little bit stronger

I thought about freezing the moment and the difference between stopping time and suspending (or being suspend in) it.

a few hours later: I’m reading the book, American Spy, and I just came across this bit about looking people in the eyes:

At Quantico they’d taught us the so-called classic signals that some one was lying: if they glanced up to the right before they speak, or if they won’t look you in the eye.

American Spy/ Lauren Wilkinson

My immediate reaction: that’s how I look at a person’s face. I try to find the approximate location of their eyes by looking off to the side, near their shoulder — this is me looking at them through my good, peripheral vision. Then I stare into the spot, which is usually fuzzy nothingness to me. Does that mean I’m always lying? Of course not.

I was pleased that this discussion continued:

None of what I’d learned worked as well as listening to my instincts. I’ve always been good at ferreting out decption. I’m not entirely sure what my ability to detect a liar is based on–subtle cues maybe, suconscious awarenss, an intuitive talent for reading microexpressions. I don’t know and I’ve found that the more I try to understand it the less effective I am.

Right. As Georgina Kleege suggests in Sight Unseen, looking someone in the eye doesn’t have this magic power that many (most?) people seem to think it does.

march 21/RUN

3.35 miles
trestle turn around
43 degrees

Wow, what a morning! Birds! Sun! Calm air! Everything quiet, relaxed. I felt fast and free. less tightness in my neck and hip. Greeted the Welcoming Oaks and Dave, the Daily Walker.

10 Things

  1. a runner with BRIGHT orange shoes
  2. a shining white form in the distance, through the trees: the river
  3. the strong smell of weed somewhere below me
  4. stopping at the sliding bench — movement below, in the trees just before white sands beach: a runner on the winchell trail — should I try that?
  5. the soft knocking of a woodpecker in a nearby tree
  6. stepping off onto the dirt trail for a brief stretch: soft and springy
  7. someone sitting on a bench near the trestle
  8. the river: open and blue
  9. a big branch sticking out of the trashcan — a discarded walking stick?
  10. 3? stones stacked on the ancient boulder

I decided to try an experiment with beats.

First mile: chanting in triples
Second mile: metronome at 170 bpm
Third mile: “Doin’ Time” playlist

mile 1: strawberry/blueberry/raspberry — (to the welcoming oaks) Hello friend! Hello friend! Hello friend!/ old oak tree / stacking stones / stack the stones / intellect / mystery / (noticing a crack in the asphalt) breaking up / cracking up / bright yellow / woodpecker

I found that bright yellow was especially good for locking into a rhythm — BRIGHT yellow

mile 2: 170 was hard. I think it was too slow. I probably should have tried 175 or 180. I think I’ve done 175 before. I only locked into this beat a few times. Was my inability to lock in also because I started with triples?

mile 3: I put in my playlist. The first song was “About Damn Time” by Lizzo. It was great for getting into a groove. Next up, “9 to 5.” As I started to listen to it, I realized the metronome was still on and the beats of the song and it didn’t match up. I decided to leave it going and see what happens when I’m dealing with competing rhythms. I can’t quite remember, but I feel like I didn’t lock into either rhythm; I just created my own, and it didn’t bother/unsettle me.

Later I thought about how the “9 to 5” rhythm represents the relentless drudgery of working within capitalism. Resisting that rhythm, and what it does to you, is important. The final song I heard was “Too Much Time on My Hands” by Styx. I listened to the lyrics and was reminded that it was about a guy who wants a job, a way to feel useful, something to do, but he can’t get one. While he doesn’t mention in the lyrics why he can’t get a job, I thought of the larger context and the conditions (economic, political, social/cultural) that make it difficult for people/communities to find work.

Reading the lyrics — without hearing the music or singing — I was struck by this line:

And I don’t know what to do with myself

So dark. Heard with the music it just seems like a light lyric from a pop song.

This was a fun experiment that yielded some surprising results. I liked the accident of the competing rhythms and the juxtaposition of 9 to 5 with Too Much Time on My Hands. For future attempts, I’ll increase the metronome speed and mix up the order. Maybe I should try to write something, too, at the end of each segment? Speak a poem into my phone?

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).

march 17/RUN

4.25 miles
locks and dam no.1 hill and back
50 degrees
wind: 13 mph/ 25 mph gusts

Warmer, windier. Ran straight into it heading south towards the falls. It didn’t howl or swirl the leaves but once it almost took off my hat. And it pushed against me, making it harder to run. I didn’t mind. At the start of the run, I felt a little stiff — especially my neck — but by the halfway point I had loosened up.

I noticed the river several times: Sometimes it was silver sparkle, other times tin or pewter, and it was ridged or scaled from the wind. I decided to run down the hill at the locks and dam no. 1 to get closer to the water. Inspired by AO’s Dart (see below), I wanted to hear the trails of scales and the bells just a level under listening. Did it sound like anything? If it did, the sounds were forgotten as I turned around and climbed the hill. A few steps in I stopped to take in the wide blue view of the river from this angle. It took up almost all of my sight: blue undulations

11 Things

  1. the long shadow of a slender tree cast across the part of the path that dips below the road
  2. an orange sweatshirt on a walker emerging from the winchell trail
  3. squaring my shoulders and running into a stiff wind
  4. 2 people under the ford bridge near the locks and dam no. 1, about to climb up somewhere
  5. the bright white base of the locks and dam no. 1 sign — they must use reflective paint
  6. the benches above the edge of the world and near folwell were empty
  7. the low hum of playing kids on the school playground
  8. the flat top of a recently made stump: orange
  9. a white patch in the river near the shore — was it a chunk of ice? a sandbar?
  10. a tailwind as I returned north — not feeling the wind but its absence and that everything was easier
  11. added a few hours later: a creaking above from one tree branch rubbing another in the wind

Listened to leaves shimmering in the trees as I ran south, my “Doin’ Time” playlist as I ran back north. Most memorable song, “Once in a Lifetime”:

Same as it ever was, same as it ever was
Same as it ever was, same as it ever was
Same as it ever was, same as it ever was
Same as it ever was, same as it ever was

Water dissolving and water removing
There is water at the bottom of the ocean
Under the water, carry the water
Remove the water from the bottom of the ocean
Water dissolving and water removing

Letting the days go by, let the water hold me down
Letting the days go by, water flowing underground
Into the blue again, into the silent water
Under the rocks and stones, there is water underground

I never realized before how much water is used in this song. Very cool! The same as it ever was is an interesting contrast to what I was reading earlier this morning: Heraclitus and his idea of never stepping into the same river twice — see 17 march 2023

possible lines to recite/chant

Rereading my 17 march 2022 entry, I encountered these wonderful lines from Dart about how the river sounds:

will you swim down and attend to this foundry for
sounds

this jabber of pidgin-river
drilling these rhythmic cells and trails of scales,
will you translate for me blunt blink glint.

the way I talk in my many-headed turbulence
among these modulations, this nimbus of words kept in
motion
sing-calling something definitely human,

will somebody sing this riffle perfectly as the invisible
river
sings it

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

The bells!

High Above on the Ford Bridge Looking Down at the River

O, can you hear them
at all, these riffle-
perfect rhythmic cells
and trails of scales, plucked,
muted, muttering
below — a string of
small bells just under
the level of your
listening?

on moving — Alice Oswald and Cole Swensen

More words rediscovered while reading past entries in my “On This Day” practice:

I found this great quote from Oswald in her introduction to the poetry anthology, The Thunder Mutters: 101 Poems for the Planet:

Raking, like any outdoor work, is a more mobile, more many-sided way of knowing a place than looking. When you rake leaves for a couple of hours, you can hear right into the non-human world, it’s as if you and the trees had found a meeting point in the sound of the rake. (ix)

Mobile and many-sided, more than looking from a distance.

From Cole Swensen:

Then sitting still, we occupy a place; when moving through it, we displace place, putting it into motion and creating a symbiotic kinetic event in which place moves through us as well. 

Walk/ Cole Swensen

march 15/RUN

4.1 miles
river road north/south
38 degrees / humidity: 84%

Colder today. Back to winter layers: long-sleeved green shirt, orange sweatshirt, black vest, black tights, gray buff, black gloves, purple/pink baseball cap, bright pink headband

A gray sky and a slight drizzle. Bright headlights through the trees where the road curves. Grit. Wet leaves on the trail. Pairs of fast runners approaching.

Listened to other runners’ voices, the sandy grit under my feet, car wheels as I ran north, put in my “Doin’ Time” playlist heading south, including Good Times by Chic. My favorite lines:

I want to live the sporty life

and

Clams on the half shell, and roller skates, roller skates — here’s the full verse:

A rumor has it that it’s getting late
Time marches on, just can’t wait
The clock keeps turning, why hesitate?
You silly fool; you can’t change your fate
Let’s cut the rug, a little jive and jitterbug
We want the best, we won’t settle for less
Don’t be a drag; participate
Clams on the half shell, and roller skates, roller skates

Good Times was released in June of 1979. The clam shells and roller skates line seems ridiculous (and it is, in a delightful way), but it also captures the vibe of 1979.

After seeing several orange things, I decided that would be my 10 things list. I could only remember 8.

8 Orange Things

  1. a giant orange water jug set up on a table for runners
  2. orange lichen (or moss?) on the north side of the ancient boulder
  3. orange bubble letter graffiti on the underside of the bridge
  4. my orange sweatshirt
  5. the flesh of a tree where a branch used to be, newly trimmed and exposed to the elements (water, air): rusty orange
  6. leaves on the ground: burnt orange
  7. an orange effort: a higher heart rate (see 25 may 2023)
  8. hot pink spray paint on the iron fence that I initially saw as orange

ceremony/ritual/circumambulation

A few things related to my planning of a loop run as ceremony:

first, something to chant, from James Schuyler’s Hymn to Life:

Press your face into the
Wet April chill: a life mask. Attune yourself to what is happening
Now, the little wet things

The whole thing, or maybe just the last bit, starting with “Attune yourself”? See also: 14 march 2024, 15 march 2024

Second, the bells! The bells of St. Thomas signaling the start of the ceremony, or the start of some part of the ceremony? Accompanied by:

Then Space – began to toll,

As all the Heavens are a Bell,
And Being, but an Ear,
And I, and silence, some strange Race,
Wrecked, solitary, here –

or

I was still ringing. I had been my whole life a bell, and never knew it until at that moment I was lifted and struck.

Pigrim at Tinker Creek/ Annie Dillard

converted into my 3/2 form:

My whole life
I’d been 
a bell but
never
knew until
I was
lifted and
struck. Now
I am still
ringing.

Third, form inspirations? A psalm, like Julia B. Levine’s Ordinary Psalms?

Megan Feifer: Both of your poems share the words “Ordinary Psalm.” Why did you choose to name these poems as such? Does a psalm lose its reverence when it becomes ordinary? Is that the point? 

Julia B. Levine: I am currently at work on a (hopefully) book-length collection of Ordinary Psalms. In these poems I am interested in the idea that the ordinary, if deeply lived and carefully attended to, are valid entryways into sacred or reverent experience. As a child I attended a Reform Jewish synagogue and always disliked the prayer books, though I loved the Torah. The difference, it seemed, had to do with the formal and vague language of prayer as contrasted with the heroic, vivid, and oftentimes earthy details of the weekly Torah readings. On reflection, this tonal difference in language may be the primary reason I don’t feel any sense of reverence toward an Old Testament God, but I do believe in the transcendent power of myth and stories. So, in contrast to psalms that rely on a formal address to an anthropomorphic God, I wanted to create a kind of personal prayer book that uses the living language of everyday details and experience to name and praise those aspects of this world that, for me, embody divinity.

Writer’s Insight: Julia B. Levine

JJJJJerome Ellis’ litany of names? Mary Oliver’s prayer as the attention before the words? lucille clifton’s praise of impossible things:

All Praises/ lucille clifton

Praise impossible things
Praise to hot ice
Praise flying fish
Whole numbers
Praise impossible things. 
Praise all creation
Praise the presence among us
of the unfenced is.

Oh, that unfenced is! That line gets me every time.

march 14/RUN

4.2 miles
minnehaha falls and back
63! degrees

Last night, I read this on Instagram from a local weather blog: Thursday feels like spring, Friday like summer, and snow on Saturday. What? Reading more, the snow should be north of us. Instead, we’ll get thunderstorms. That’s March (and April, and sometimes May) in Minnesota. This morning does feel like summer: warm. I wore shorts and a short-sleeved shirt and a light-weight sweatshirt. Halfway, the sweatshirt came off. The falls were gushing. I think I overheard some woman exclaim, How can there still be ice?! I didn’t look closely, but I imagine the one ice column beside the falling water is lingering.

Mostly I felt fine while I ran. My back didn’t hurt. Both of my hips are a little sore, but not like they’re injured sore. Almost like I’ve been doing too many core/hip exercises sore.

Listened to the birds and bikers and kids on the playground as I ran south. Put in my “Doin’ Time” playlist at the falls and as I ran north.

Playing for Time/ Peter Gabriel
What Time is It?/ Spin Doctors
Time of the Season/ Zombies

10 Things

  1. shadow 1: mine, beside me
  2. shadow 2: fence slats on the trail
  3. shadow 3: a flying bird
  4. a kid at the falls wearing a bright blue jacket with a logo on it that reminded me of a jacket I got from a race a few years ago. Did he run the race too?
  5. my favorite bench above the edge of the world was occupied by a person and a bike
  6. matching bright yellow shirts on 2 bikers biking up the hill between the double bridge and locks and dam no. 1
  7. running under the ford bridge, appreciating the cool, shaded air
  8. the river sparkling silver through the trees as I ran south, below the road
  9. the dirt trail on the boulevard, mostly mud
  10. stopped at the folwell bench to admire the river — all I remember is that it was open and blue

After I finished, I recited the Emily Dickinson poem I memorized yesterday: Crumbing is not an Instant’s Act. I remembered almost all of it, only struggling with this verse:

Ruin if formal — Devil’s work
????? and slow —
Failing in an instant, no man did
Falling Slipping — is Crashe’s law —

I couldn’t think if the right word for the second line. Sequenced? Ordered? Organized? No. It’s “Consecutive.” Of course!

I’ve liked this poem for a few years now, especially the second verse and “An Elemental Rust.” I decided to memorize it as I study time and think about its relationship to erosion (and to my vision).

lunar eclipse

Woke up around 1:30 and realized that there was a lunar eclipse. Got RJP (who was still up, natch) and we sat outside and watched it slowly happen. Well. at least 15 minutes of it. We didn’t have the patience to wait until it was completely covered. RJP and I always check out sunsets and the moon together. It’s one of our things. I am reminds me of a story I read years ago. Can I find it? Yes, but it took a long time. I had a title — October — but not the author or the journal. Lots of searching online and in my files and through my books. Nothing. More than an hour later sitting on the deck, the name Jill popped into my head. How? Why? I searched for “Jill essay October” and found it, except that wasn’t the right essay. This one was about her ex-husband and Texas and leaves; the one I remember was about her daughter and Texas and rain — but it had leaves (or leavings) in the title! Searched, “Jill essay daughter” and bingo! It’s funny how memory works.

Late last night, a surprise rain. My seventeen-year-old daughter and I rushed out to the deluge in bare feet, our T-shirts darkening with each drop. We raised our arms, spinning on the walkway and laughing until lightning seared the sky. I pointed to the tree’s thick arms, thinking about the way they stretch as if waving. We huddled under the light on the porch while rivers swelled against the curbs of the parking lot. When I told her we’ve been running into the rain since she was little, she grinned and nodded, her long blonde hair matted on her shoulders and against her neck.

*

It was there in Utah, when Indie was two and three and four, that I started the tradition: as soon as we hear rain, we throw open the door. During those first rains, I carried her. She was too young to know my sorrow, the way I waited for word from her father, the way I worried about my bank account every month. But when the rain came, all want and worry washed away. And then in the later rains, she beat me to the middle of the yard or the sidewalk or the walkway.

All Our Leavings/ Jill Talbot

march 2/RUN

5 miles
bottom of franklin hill
26 degrees

Hooray for being outside and on the walking trail! Hooray for not much wind! Hooray for running up the Franklin hill! My back was a little tight, but not too bad. My legs felt fine.

The river was open; the only ice was on the edges. The sky was a mix of clouds and bright sun. Before the run I heard some geese — did I hear any during? I don’t think so. Also heard before the run: some kids having fun inside a house — laughing and yelling through the closed windows.

At some point, I had an idea for my monthly challenge: the run as ceremony. Inspired by Ellis’s Aster of Ceremonies, I want to return to Gary Snyder, Mount Tamalpais, and circumambulation. What sort of ceremonies can I make out of my run that brings together my blind spot and the gorge?

10 Things

  1. bright pink graffiti on a foot of the 1-94 bridge
  2. the top of one section of the wooden fence on the edge above Longfellow Flats is missing
  3. the chain across the old stone steps has been removed
  4. the path was almost completely clear — the only bit of snow I recall seeing was under the lake street bridge: a low and narrow ridge — just remembered one other bit of snow: just past the franklin bridge
  5. a full-length mirror left by the trashcan
  6. disembodied voices — coming from inside houses, below in the gorge, far behind me on the trail
  7. sh sh sh — my feet striking the grit on the asphalt
  8. my shadow briefly appeared – not sharp but soft, faint
  9. at least 2 trios of runners, some pairs, several runners on their own
  10. my friend, the limestone slabs propped up and looking like a person sitting against the underside of Franklin, is still there. I’d like to name them and add them to my list of regulars: Lenny the limestone?

lower back pain

My lower back has been sore lately. Sore enough that I took 5 days off of running. Not sure why I’ve waiting this long, but i decided today to look up lower back stretches for runners. I found this video and its 4 helpful stretches — the video claims to have 5 stretches, but they are only 4. I wonder what the missing one was?

The stretches: pretzel, thread the needle, plank to lunge, hip sweep

I’ll see how it feels in a few hours, but right now, having just stretched, it feels good!

a purple spill from march 1

I wrote this yesterday, but didn’t have a chance to post it.

It’s March and the purple hour is over, but in true purple fashion, the color can’t be contained to one month. Always it oversteps its boundaries. Reading the poem of the day, “Fog” by Emma Lazarus, purple appeared:

Swift, snowy-breasted sandbirds twittering glance 
Through crystal air. On the horizon’s marge, 
                Like a huge purple wraith, 
                The dusky fog retreats.

wraith

1
a: the exact likeness of a living person seen usually just before death as an apparition

b: GHOST, SPECTER

2

: an insubstantial form or semblance : SHADOW

3

: a barely visible gaseous or vaporous column

f you see your own double, you’re in trouble, at least if you believe old superstitions. The belief that a ghostly twin’s appearance portends death is one common to many cultures. In German folklore, such an apparition is called a Doppelgänger (literally, “double goer”); in Scottish lore, they are wraiths. The exact origin of the word wraith is misty, however, and etymologists can only trace it back to the early 16th century—in particular to a 1513 translation of Virgil’s Aeneid by Gavin Douglas (the Scotsman used wraith to name apparitions of both the dead and the living). In current English, wraith has taken on additional, less spooky, meanings; it now often suggests a shadowy—but not necessarily scary—lack of substance.

Merriam-Webster entry

marge = margin = edge

Wraith — I like that word and what it conjures. And to make it purple? Good job, Emma! I’m not sure about the middle section where she imagines the “orient town,” but I like “Fog,” especially this:

for on the rim of the globed world 
I seem to stand and stare at nothingness. 
                But songs of unseen birds 
                And tranquil roll of waves

Bring sweet assurance of continuous life 
Beyond this silvery cloud. Fantastic dreams, 
                Of tissue subtler still 
                Than the wreathed fog, arise,

And cheat my brain with airy vanishings 
And mystic glories of the world beyond. 

Returning to the purple — I like how she imagines the lifting fog as purple. Back in November of 2022 (how has it been that long?!) when I studied gray, I devoted a day to fog and mist: 23 nov 2022. Last month, purple — especially lavender and lilac or eggplant and dark purple — replaced gray. Where I used to see gray everywhere, now I see purple, or imagine purple.

feb 22/RUN

3.1 miles
ford bridge and back
23 degrees

Feels like spring today! Birds! Warm sun! Melting and dripping snow! It is supposed to warm up all next week. The path wasn’t that crowded, which is surprising because it’s so nice and it’s Saturday. I don’t remember much from my run, other than wondering if my back was hurting (occasionally, a little) or if I should stop to tie my shoelace (I did). Can I remember 10 things?

10 Things

  1. 3 or 4 fat bikes on the dirt rail that is on the other side of the river road and runs alongside Minnehaha Academy, lower campus and Becketwood
  2. a biker and a bike stopped at the bench across from Folwell
  3. the rounded shadow of the light part of a lamp post
  4. a thick layer of snow on the walking path between folwell and 42nd
  5. three runners ahead of me evenly spaced across the whole path
  6. my dark shadow ahead of me as I ran north
  7. the clanging of an unseen dog collar
  8. a walker talking loudly on her phone as she walked, her voice echoing through the neighborhood and then above the oak savanna
  9. a runner in a bright blue jacket turning onto the trail from 42nd
  10. the river, all white, all covered in snow

I listened to voices as I ran south, the mood: energy playlist on the way back north.

the purple hour

1:35 am / dining room

Listened to Monica Ong’s “Lavender Insomnia.“

7:55 am / dining room

The poem of the day on Poetry Foundation is First Fig. Figs can be many different colors but are often associated with purple. Since I’ve posted this well-known poem about a candle burning at both ends before, I decided to find out if Millay had written any other fig poems.

Second Fig/ Edna St. Vincent Millay

SAFE upon the solid rock the ugly houses stand:
  Come and see my shining palace built upon the sand!

First Fig and Second Fig are from Millay’s 1922 collection, A Few Figs from Thistles. Is her use of figs and thistles a reference to Matthew in the Bible?

Ye shall know them by their fruits. Do men gather grapes of thorns, or figs of thistles? Even so every good tree bringeth forth good fruit; but a corrupt tree bringeth forth evil fruit.

Matthew 7:16-20 King James Version (KJV)

Speaking of thistles, my mom often had globe thistles in her garden. After she died, I recall wanting to grow them in her memory, but I can’t remember why. Is it because butterflies like their round purple flowers, or because I do?

feb 20/RUN

5.5 miles
bottom of franklin hill and back
9 degrees

Outside! Very bright today. A mix of moments of feeling great and feeling not so great — more feeling great. Foot prints in the snow, lamp post shadows, patches of brown ice. Black capped chickadees! A white river, a barren beach, a fat tire e-bike buzzing past me. A BLUE! sky — wow! Fogged up sunglasses. A delayed greeting: Hi Dave!

During mile 2, I chanted purples:

lavender / lavender / lavender
amethyst / amethyst / amethyst
indigo / indigo / indigo
grape
orchid / orchid / orchid
iris / iris / iris
wisteria

Thought about a blueberry looking more purple than blue, then the shade of purple: sucker. I like the word sucker — a candy, a fool, someone who sucks on something, a person on a straw, or something that sucks on something, a plunger on a toilet, an octopus on an arm.

Listened to the birds, the cars, and the gurgling sewer on the way north. Listened to an energy playlist — Don’t Stop Me Now, Work it, Sabotage — on the way back south.

the purple hour

12:45 am / dining room

restless, difficult to be still enough to type/think

(remembering, 7:05 am) looking out the kitchen window, seeing 2 dark forms in the white snow — bare patches or something more? Staring for a few mnutes — am I imagining that slight shift? No, 2 animals, standing still for minutes. What are they doing? Quick movement, then bounding figures. Rabbit-like. But these animals look so dark — is it a trick of the dim light — bunny fir darkened in the lilac light? [there is no indigo in a backyard illuminated by neighbor’s security lights.] Or, could these creatures be racoons?

2:44 am

a word appears in my head: amethyst — February stone, quartz, ancient Greeks believed it would prevent intoxication

7:49 am / dining room

A journal: Amethyst Review

In a Robert Frost poem, October:

Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost—
For the grapes’ sake along the wall.

A myth created in the 1500s about a nymph and Bacchus:

In his poem “L’Amethyste, ou les Amours de Bacchus et d’Amethyste” (Amethyst or the loves of Bacchus and Amethyste), the French poet Rémy Belleau (1528–1577) invented a myth in which Bacchus, the god of intoxication, of wine, and grapes was pursuing a maiden named Amethyste, who refused his affections. Amethyste prayed to the gods to remain chaste, a prayer which the chaste goddess Dianaanswered, transforming her into a white stone. Humbled by Amethyste’s desire to remain chaste, Bacchus poured wine over the stone as an offering, dyeing the crystals purple.

wikipedia

A cluster of grape gems to buy.

In a Dan Beachy-Quick poem:

Anniversary/ DAN BEACHY-QUICK

You are for me as you cannot be
For yourself, chaos without demand
To speak, the amethyst nothing
Hidden inside the trinket shop’s stone,
Dark eyes dark asterisks where light
Footnotes a margin left blank. You
Don’t look up to look up at the sky.
Your ears parenthesize nothing
That occurs, that I keep from occurring,
In the poem, on the page, as you are
For me, not a shadow, but a shade
Whose darkness drops from no object
But is itself yourself, a form of time
Spanning nothing, never is your name.

9:46 am / kitchen

Telling Scott about how the word amethyst popped into my head and that it was the birthstone for February, he said that he knew that because his grandmother was born in February and she often wore amethyst jewelry.

12:31 pm / front room — chair

Thinking more about Dan Beachy-Quick’s lines:

not a shadow, but a shade
Whose darkness drops from no object

Thinking about shade as a hue with black added to make it darker (as opposed to tint, where white is added to make something lighter). Also thinking about shade as relief on a hot day, a welcomed darkness.

added hours later: Rereading the poem, “Anniversary,” I looked it up: amethyst is given for the 6th wedding anniversay.

feb 16/RUN

note: I’m starting this post at 9:50 am. The temp is 4 degrees / fees like -11. The wind is 11 mph with gusts up to 20 mph. At this point, I’m thinking I will run inside on the treadmill. Will I, or will some part of me convince the rest to run outside?

3.5 miles
ford bridge and back
7 degrees / feels like -10
50% snow-covered

We did it. Good job legs and lungs and heart, you convinced brain that we really needed to be outside this late morning! Almost all of the layers were on: 2 pairs of black running tights; dark gray tank top; green long-sleeved shirt; orange pullover; dark purplish/blueish/grayish pullover with hood; purple jacket; orange striped buff; black fleece cap with ear flaps; black gloves; pink striped gloves; 2 pairs of socks — gray (long) / black (short). At times, I was too warm.

It was wonderful and sometimes hard, especially when I was running into the wind on the way back. It was also bright — glad I had my sunglasses. Encountered someone in orange with their hand up to shield their eyes as they walked south. Saw the round shadow of a street lamp and the jagged shadow of a small tree. Passed a group of four walkers, laughing and yelling and having fun on the double bridge.

Did I think about purple at all? I can’t remember now. The only color I recall noticing was orange.

the purple hour (15th and 16th of feb)

3:38 am / dining room / 15 feb

the heat turnning on, the house shifting settling, my legs restless
purple mountains — in Japan, looking out at the mountains, different shades of purple — fall, 1994
Emily Dickinson purple — sunsets and sunrises
someone shoveling at 4 am

[discussion below added at 10:30 am on 16 feb]

Where Ships of Purple—gently toss — / Emily Dickinson

Where Ships of Purple—gently toss —
On Seas of Daffodil—
Fantastic Sailors—mingle—
And then—the Wharf is still!
F296 (1862) 265

No one does sunsets better than Dickinson. I wonder if Amherst sunsets are still so colorful. Where I’ve lived sunsets are primarily red, pink, and gold, but the ones she describes often have purple. This one does, too. Here she sees great ships, large purple clouds, gently tossing in their moorings. The sea beneath them is tinted golden, “Daffodil,” from the setting sun. The mingling and fantastic sailors are no doubt smaller clouds that move among the larger ship-like ones, their shapes constantly changing. When the sun sets the sky turns dark and “the Wharf is still!”

the prowling bee

The prowling bee has been such a wonderful resource for me. Reading the comments for this poem, there was speculation about why the Amherst sunsets were so brilliant and purple:

Romantic era sunsets WERE particularly vivid, due to volcanic ash from several cataclysmic eruptions worldwide. The Hudson River School artists and their sunsets might not have been hyperbole, after all, nor were ED purple sunsets.

Another commenter doubted this suggestion, so I did a quick search and found a pop science article about a study on sunset paintings and volcanic ash: How Paintings of Sunset Immortalize Past Volcanic Eruptions

Volcanoes can cause some of the world’s most spectacular sunsets. An eruption spews small particles of gas, dust and ash, called aerosols, high into the atmosphere where they can spread around the world. The particles can’t be seen during the day, but about 15 minutes after sunset, when conditions are right, these aerosols can light up the sky in brilliant “afterglows” of pink, purple, red or orange.

The impact of climate/climate disruptions on how we see color? Fascinating. Earlier this morning, while doing my “on this day” practice, I reread my entry from 16 feb 2024. In it, I described a photo I took above the gorge.

The most important thing about this image is how the branches create a net which mimics how my vision often works — I can almost see what’s there, but not quite. Secondary, but connected, is the feeling of being disoriented, off, almost but not quite, untethered, which comes from swirling forms and the climate crisis — there’s almost always snow on tthe ground here in February. Where are my Minnesota winters?

This last bit about climate crisis and lack of snow returns me to the ash in the sky and its effect on how 19th century artists saw and depicted the world. Many places to go with this, for now I’m thinking about how my vision loss (or the making strange of my vision) has enabled me to be more open (than many people with “normal” vision) to understanding vision as complex and not as simple or straightforward as “what you see is what you get.” Does that make sense?

1:50 am / dining room / 16 feb

doorways/thresholds are definitely purple — a deep, dark purple
the air above the gorge: different versions (tints/shades) of purple
purple hums, a soft lavender static in my ears
lachrymose purple 
originally wrote violet static, but looked up the color again and thought it was too dark for the static I was hearing in my head

9:46 am / front room / 16 feb

Thought more about violet. Decided to search, “Alice Oswald violet.” Found this beautiful poem:

Violet/ Alice Oswald

Recently fallen, still with wings out,

she spoke her name to summon us to her darkness.

Not wanting to be seen, but not uncurious,

she spoke her name and let her purple deep eye-pupil

be peered into.

‘Violet,’ she said

and showed her heart under its leaf.

Then she leant a little frightened forwards

and picked a hand to pick her.

And her horrified mouseface, sniffed and lifted close,

let its gloom be taken and all the sugar licked off its strangeness

while we all stood there saying, ‘Violet! Violet!’

fingering her blue bruised skin.

Finally she mentioned

the name of her name

which was something so pin-sharp,

in such a last gasp of a previously unknown language,

it could only be spoken as a scent,

it could only be heard as our amazement.

“purple deep eye pupil”: so good!

“the name of her name” — I wrote in my notes: the flower is never one solid, consistent color — the color is an abstraction, a taking one part for the whole, a disconnection — to name a color is to reduce the experience and perception of that color to one thing — colors cannot be fully named

What is lost — in our perception, experience of the world — when we reduce what we see to a fixed color/fixed name?

This question reminds me of something I read in Turning to Stone on the importance of naming yesterday:

The names themselves are, of course, human constructs, but the act of naming requires making distinctions that sharpen the powers of observation.

*

Taxonomy is comforting because it creates a sense of control and finitude in a chaotic and open-ended world.

Turning to Stone / Marcia Bjornerud

Lists! I love lists. My lists aren’t taxonomies, but something else . . .

The proper name of God is a list.

Valentina Izmirlieva in Aster of Ceremonies

Once I get the audiobook of Aster of Ceremonies, I want to put name as taxonomy and control in conversation with JJJJJerome Ellis’ “Liturgy of the Name” and “Benediction.”