Tag: shadows

june 7/RUN

4.3 miles
minnehaha falls and back
68 degrees

A few degrees cooler this morning, but still warm.

I’m listening to a very (too?) long audio book right now and I’m trying to finish it before it’s due back at the library in 7 days — The Covenant of Water, 31 hours. I decided to listen to it for the first half of my run. Sometimes I like listening to audio books while I run, not so much today. My mind kept wandering and I had trouble paying attention to the story. Plus, because I had headphones on, I felt disconnected from the gorge and the trail.

Even in my distracted state I still managed to notice a few things:

10 Things I Noticed

  1. Mr. Walker Sitter was perched on his walker just above 42nd street ravine
  2. the falls roaring gushing rushing down the limestone
  3. more bikers than walkers or runners on the trail
  4. the surreys lined up, ready to take over the trails
  5. an older woman, biking, calling back to some other bikers, did I miss the turn-off? Oh, here it is!
  6. a sprinkler watering the flowers near the fountain which no longer works and the low limestone wall with “Song of Hiawatha” etched on its top
  7. the dirt trail leading into the small wood on the hill up to ford parkway, looking both inviting and buggy
  8. approaching a guy who had been running when I saw him far ahead of me, but now was walking. Right before I reached him, he started running again
  9. a big black something on the ground — an oversized glove? a hat? a knee brace? I couldn’t tell
  10. most of the dirt on the trail between edmund and the river road was tightly packed, but a few stretches where loose and sandy

Wordle Challenge

5 tries: tough/wheat/haste/hated/hater

Nap-Hater

Middle-aged, it’s tough to watch
wheat gently waving in the wind
without haste and not want to slow down yourself
but as a kid I hated anything slow —
snails, sermons, that quiet time right after lunch
when you were supposed to be still on your cot.
Wedged between other writhing bodies
all of us desperate to be done with this dark room
we felt the dripping of each second
and despised it.

Today’s Water: Water Sign :: Cancer

In comes and goes in waves, but today I’m not worried that I have cancer. This irrational and rational fear took hold of me a few years ago and it’s been hard to shake, especially as I witness family and friends struggle with and die from it. Yesterday I read about a friend’s ovarian cancer and the terrible life-extending drugs she has to keep taking post-chemo to prevent the cancer from coming back. They cost $24,000 a month. Her insurance covers it, but what if it didn’t? What would she do? Would my shitty insurance cover these costs, if I had cancer?

Ode to Money, or Patient Appealing Health Insurance for Denial of Coverage/ Katie Farris

I don’t know what money is. Moss? The mink’s crescent
teeth? Or maybe money is
the morning I woke
at dawn to wander
past the orange
blossoms, a smell with four
dimensions, touching me through
time. Is that

                    currency?

My uncle, Christopher Marlowe,
mad, drank the visions until he died.
You bury
treasure.

To determine a family’s net
value, make a list of assets, then subtract
liabilities. Asset: Geraldine Fox’s 1948 degree in
chemistry. Liability: William Marlowe’s propensity
for hurting his daughter. Am I doing this right? Is this

       the gold standard?

Asset: seeing light that isn’t there,
like a ship passing through the narrow harbors
of my eyes, scraping—
is burying treasure a cash
transaction?

I once buried a half-
decayed skunk I fished from my Uncle Christopher’s
garbage can, covered in bees. X marks the spot.

In sum: perhaps the moon’s an insurance adjuster.

America’s optimistic to dye its money
green. Leaves are green
because of chlorophyll, which is the machine
that turns sunlight, water, and carbon dioxide into leaf, stem, and root. All
the little blades of grass left behind by the lawn mower like Civil
War soldiers. Same as cash.

                      A heavy-bodied moth

caught between glass and screen casts its shadow down
into the palm of my hand: one dark coin.

I’ve been thinking about buying and reading Katie Farris’s collection about her breast cancer, Standing in the Forest of Being Alive, even before it came out in April. Maybe I should get it and read it this summer?

june 6/RUN

3.1 miles
trestle turn around
72 degrees
dew point: 61

Ran with Scott this morning. Another warm, thick, still morning. We followed Scott’s getting-back-into-running training plan: run 15 minutes, walk 2, run 15 minutes. Our walk started right by the trestle. My left hip felt a little stiff, my left knee harder to lift at the beginning, but I mostly felt fine. My big right toe isn’t hurting anymore.

10 Things I Noticed

  1. birds, 1: several little birds on the path, reluctant to fly away, forcing a biker to slow down
  2. birds, 2: more of these little birds — sparrows? finches? — stopped right in front of me a few minutes later
  3. the white bike — a memorial for some biker killed by a car years ago — hanging upsdie down under the trestle
  4. green green green
  5. cottonwood fuzz lining the sides of the path, a pale green, looking like corroded copper to me
  6. a few puddles of water near the sidewalk edges — did it rain last night, or had nearby grass been watered?
  7. hi dave! hi sara! hi scott! I was impressed that Dave the Daily Walker remembered Scott’s name, so was he
  8. only 1 or 2 small rocks stacked on the ancient boulder
  9. the cracks in the paved trail that they just redid 2 years ago are spreading and deepening, splitting the trail in two. I made note of a small hole that I’ll need to remember to avoid next time I run this way
  10. a woman in a BRIGHT pink shirt and BRIGHT green pants — wow! I wonder if this is the same woman in the BRIGHT pink pants the other day?

No bugs, no roller skiers, no view of the river. No music, no packs of runners, no irritating encounters. No rowers, no overheard conversations, no drumming woodpeckers.

today’s wordle challenge

3 tries / wrong place SCOUT

Here a few “poems” with these words:

They call her wrong place scout
because she always seems to find the place
no one was looking for (or wanted).

wrong place scout

I was in the wrong place
but it must have been the right time
I had found the wrong camp
but stumbled on the right line
I was near the wrong guy
but he must have said the right words
He led me through the wrong door
but out into the right world.

There is no wrong
place to be when
you are scouting mystery.

I forgot about the dark
bird I saw rooting
in the hydrangeas looking
like it landed in the wrong
place until today
when I learned
about the purple martin scout
and decided that that was what it was.

Even though the finished products of this wordle challenge aren’t the greatest, the experiment was fun to do. I thought about different meanings of scout and listened to/studied the lyrics of Dr. John’s “Right Place, Wrong Time.” I also learned about purple martins and remembered a strange bird I watched in my back yard the other day. Bonus: I became aware of the existence of “Minnesota’s Largest Purple Martin House” in Audubon, Minnesota. Wow.

Here’s a water poem that is by one of my favorite poets and will be etched on NASA’s Europa clipper as it travels to study one of Jupiter’s moons:

In Praise of Mystery/ Ada Limón

Arching under the night sky inky
with black expansiveness, we point
to the planets we know, we

pin quick wishes on stars. From earth,
we read the sky as if it is an unerring book
of the universe, expert and evident.

Still, there are mysteries below our sky:
the whale song, the songbird singing
its call in the bough of a wind-shaken tree.

We are creatures of constant awe,
curious at beauty, at leaf and blossom,
at grief and pleasure, sun and shadow.

And it is not darkness that unites us,
not the cold distance of space, but
the offering of water, each drop of rain,

each rivulet, each pulse, each vein.
O second moon, we, too, are made
of water, of vast and beckoning seas.

We, too, are made of wonders, of great
and ordinary loves, of small invisible worlds,
of a need to call out through the dark.

may 31/RUN

3 miles
2 trails (long)
75 degrees

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

  1. the shadow of tree sprawled across the path
  2. the steady flow of water coming out of the sewer pipe near 42
  3. the clicking and clacking of roller skier’s poles up above me near folwell
  4. passing 2 walkers and hearing one of them say walk or should be walking or something like that
  5. the steady stream of cars driving by
  6. a few kids’ voices at the playground
  7. the flash of a white t-shirt up ahead on the trail, then disappearing around the bend
  8. leaning trees creating archways to pass through in several spots on the winchell trail
  9. cottonwood fuzz on the edges of the trail
  10. 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:

Soul/ASSOTTO SAINT

I remember the beginning
a dream ancient as dawn
a dream of destiny drumming up the blood
the flesh
this earth
a dream we were once one
soul

may 27/RUN

4.5 miles
marshall loop (cleveland)
69 degrees

Another wonderful morning! Maybe a little too warm and sunny for me. I started my run late — almost 10:00 am. Ran through the neighborhood to the lake street bridge. Rowers! 2 or 3 shells with 8 rowers each. I don’t remember what color the water was — probably blue? — but I noticed a few little waves. I hit the lights right and ran all the way up the Marshall hill to Cleveland without stopping. Didn’t stop until I reached the river road a mile later. Walked for a minute and recorded some thoughts about black and darkness into my phone.

Mostly felt strong, but my legs were sore and tired for the last mile. I think I should get my iron levels checked again. Anything else? Didn’t hear the bells at St. Thomas, but heard the roar of a bunch of motorcycles. Encountered 2 kids in a little motorized car on the sidewalk; they were good drivers, giving me lots of space to pass them. I don’t remember hearing birds — I must have? — or seeing roller skiers. Noticed my shadow, sharp and strong next to me at one point.

For the first 3 miles I listened to my breathing or my feet hitting the asphalt or motorcycles. For the last mile and a half, a playlist: “Back in Black,” “Upside Down,” and “I’ll Be There.”

Mary Ruefle and Black Sadness

from My Private Property/ Mary Ruefle

Black sadness is the ashling, its remains are scattered over
several provinces, it is the sadness of takes and hypen-
ated names, of clouds who think they are grapes, it is the
sadness of brooches, which may be worn on the breast or
at the neck but how sad none see the sadness of detail
there, the woman playing a guitar without strings, the
hare leaping from the fox in vain, it is sadness torn and
sadness rent, it is the hold in sadness from which no words
escape and no soul can spring, it is the calorific sadness
of bombs. Many of us used to own a black velvet skirt. It
is like Angie Moss on her way to the fair, it is there she
will have first adventure.

before the run

Today I will do the Marshall loop which goes by Black, the coffee and waffle place, and I will think about black and the dark and things that don’t echo but absorb, swallow, consume. I’d like to think about the comfort of black/the dark — the shade — in face of too much white/light.

during the run

I did it! I ran past Black and thought about black and darkness a lot. Some of the thoughts are gone, but some managed to stay.

10 Black/Dark Thoughts or Ideas or Images

  1. no Black smells — that is, I don’t recall smelling coffee or the wonderful smells-better-than-it-tastes waffle smell from the coffee and waffle bar
  2. today, with the bright, warm sun, I wanted the cooling darkness of shadows. My run was always felt better out of the bright light. Half the run was in shadows, half in bright light
  3. so many pleasing shadows! Mine, sprawling trees, lamp posts, buildings
  4. I didn’t hear the St. Thomas bells and, as I was nearing campus, I wondered if it was because something — the wind? — was absorbing their sound. Black bells ringing with a black, echo-less sound?
  5. the dark/black mystery of deep trails down into the gorge
  6. I saw a few waves on the river, but no sparkles. Thought about Homer’s wine dark and the idea of water as deep and dark and endless
  7. my running shorts are at least 10 years old and were, at one time, black. Now, faded by the sun, they’re still black but barely, almost a very dark gray
  8. running down the summit hill to the river road trail, thought about light as knowledge, liberated from Plato’s dark cave of shadows, then the dark womb and women’s ways of knowing and how light (and scrutiny and classifying — dissecting) are masculine, patriarchal and privileged over other ways of knowing, which are often read as feminine and less than, or to be overcome
  9. if light = certainty (but does it?) and knowing for sure, what happens when we are finally certain? What ends when the darkness is over?
  10. thought about the idea of black hearts and then what a literal black heart might look like or why someone might have it and then wondered if a literal white heart might not be just as disturbing*

*looking up black heart, I found this interesting discussion of its recent usage:

In the late 20th century, many black scholars, writers, artists, activists, and everyday people began variously using black heart to express pride in and love of their black identity and experience, reclaiming the long, historical racism against blackness. On social media, they may use the black heart emoji, released in 2016, for emphasis.

black heart Meaning & Origin

Much of my thinking about black and darkness during the run was from the perspective of understanding black and dark as good, or not the bad/evil to white’s/light’s good. When I stopped to walk 2.5 miles in, I recorded some of my thoughts:

Thinking about black and dark and how important that (dark) is to poets and to mystery. There’s a difference between pure black that absorbs everything and a dark gray so I’m kind of conflating those, but it’s the idea of dark as essential and how light can be too bright. The idea of certainty, where you can see everything in its sharp lines and finally know it, is a conclusion, an ending to the mystery. To life. So, that’s not to say that light and certainty aren’t important but they are not the good to dark’s bad.

I think these ideas made more sense in my head. I should say that much of my thinking about black and dark was particularly inspired by a quote I encountered yesterday about hope being a language that dark voices cannot understand — it was the title of a student’s musical composition at FWA’s concert. When I first heard the quote, I was bothered by the idea of dark voices, which could (and has — I’ve taken entire grad classes on it) be connected to actual dark voices, that is, the voices of Black people, so it literally means we don’t need the dark voices of Black people. I also thought about how light gets connected with seeing, which then becomes the dominant way to access truth. So, if you can’t see well — you’re blind, or going blind like me — it’s understood that there’s something wrong with you.

note: I feel like I have too much to say about all of this, which is causing me to struggle to say anything coherent. Maybe I’m not ready to express it yet?

Anyway, all of that was happening in my head as I ran. None if it stayed too long, only flaring then flying away. One of the last thoughts I remember having was, dark voices absolutely understand the language of hope and they are my primary resources for finding and holding onto it! This thought is true for me literally and figuratively. In both my master’s thesis and dissertation, I studied the deeply rich and messy and complicated tragic hope of critical race theorists (especially Cornell West) and black feminists and womanists (Audre Lorde, Patricia Hill Collins, Alice Walker). And now, ever since 2016, I’ve been looking to poetry and poets, for their safeguarding of bewilderment and mystery and their understandings of hope that come from a sharing of joy that is both grief and delight.

after the run

At the end of the run, and now almost 2 hours after it, I’ve arrived here, thinking that not only is the belief that darkness is bad or that there’s no room for dark voices in the light of hope is problematic, it is ridiculous. How can you have hope without grappling with the dark thoughts of mystery, uncertainty, unknowingness? And how can you have a hope that’s strong enough to help us build better futures for everyone if dark voices aren’t at the center of it?

Wow, this topic really got me going! In the past, I might have taken all of this out, but I’ll keep it for future Sara.

One more random note about black. Ruefle’s idea of black sadness as the hold from which no words can spring, no soul can escape,” reminded me of a favorite line from Rainer Maria Rilke’s “Black Cat“:

A ghost, though invisible, still is like a place
your sight can knock on, echoing; but here
within this thick black pelt, your strongest gaze
will be absorbed and utterly disappear:

may 21/RUN

3 miles
turkey hollow
66 degrees

Since it was a late Sunday morning on a beautiful day, I decided to avoid the river road path. I ran on Edmund and the grassy boulevard instead. My left hip and knee felt a little sore, and the run didn’t always feel easy, but it was still great to be outside moving. The thing I remember most was the birds at the beginning. So many chirps and tweets and trills. Much louder near my house than by the river.

Greeted Dave, the Daily Walker. Encountered a lot of bikers, runners, a big group of walkers in matching black shirts, 3 kids playing basketball out in the street.

Overheard a conversation and intended to remember what one of the woman said, but I forgot within a few minutes.

Tried to run in the shade, avoid the warm sun. Felt overdressed in shorts and short-sleeved shirt. Next time: tank top.

Looked for turkeys in turkey hollow. Didn’t see even one. Looked at the window of the poem house. Still the same poem from last December.

At the end of the run, as I was walking home, I pulled out my phone, planning to practice reciting the poem I re-memorized the morning — “Writing a Poem”– into it, but there were several people nearby and I felt self-conscious. I was inspired to re-memorize this poem because of the loud weed whacker that was buzzing in my brain late yesterday morning while I was trying to read Mary Ruefle. So loud! It’s dzzzzzzzzzz (not the dizz dizz dizz of the poem) taking over everything.

This morning, during my usual routine or reading poems.org, I discovered this wonderful interview with the poet, Sarah Audsley. There are many things in this interview I’d like to revisit, but especially this:

FWR: You’re also a self-described rural poet. How would you say place and/or the pastoral influence your writing?

Sarah Audsley: “The rural poet” seems like it is in contention with “the city poet.” For me, maybe it is! Because, for me, place and my connection to place is essential. I enjoy visiting cities and being an interloper in city life, but I will always choose to live in a rural place. Walking my dog three times a day, cross country  skiing in the winter, and hiking in the mountains in the summer, offsets all the daily computer grind. I like to think, too, that it feeds the work. To put it in another way, I’m a better poet if I’ve spent some time outside noticing and moving in the woods. The natural world offers me a sense of belonging. So, of course, this will appear in the poems. As for the pastoral poetry tradition, two poets and influences come to mind: Vievee Francis and the “anti-pastoral” poems in Forest Primeval, and Jennifer Chang’s Bread Loaf Lecture, “Other Pastorals: Writing Race and Place” (June 2019, available here.)

Mary Ruefle, “On Secrets”

Secret #7

Every word carries a secret inside itself; it’s called etymology.

It is the DNA of a word. To crack or press a word is to use its etymology to reveal its secrets, all still embedded in the direct action of ancient and original metaphor.

page 91

The psychic energy required and used in writing a poem is also a secret. Where did it come from? How did it get here and where is it going?

These are the questions we ask ourselves when we write, and these are the questions an astronomer asks of the stars.

Consider the word consider, which originally meant “to observe the stars.”

Consideration leads to comprehension, which originally meant “to grasp, to seize something with the hands and hold it tight in the arms”: what the mother does with the child. To hold, to put one’s arms around.

As Jung once wittily noted: “When the neurotic complains that the world does not understand him, he is telling us in a word that he want his mother.”

And who among us is not neurotic, and has never complained that they are not understood? Why did you come here, to this place, if not in the hope of being understood, of being in some small way comprehended by your peers, and embraced by them in a fellowship of shared secrets?

I don’t know about you, but I just want to be held.

To say that consideration leads to comprehension is to say that observation leads to action. The tasks of the outside world must be observed and then embraced privately, just as the astronomer looks through his telescope, considers the stars, and embraces the universe in the closed space of his mind.

Enter the cold dark matter.

Enter the anti-secret of every word. There is no comprehension. Our comprehension is limited. Language can only hold for a moment before the embrace disintegrates.

pages 92-94

The two sides of a secret are repression and expression, just as the two sides of poem are the told and the untold. We must be careful not to take the word as the meaning itself; words no not “capture” a moment as much as they “communicate” it—they are a bridge that, paradoxically, breaks isolation and loneliness without eradicating it. It is the first experience you ever had of reading a decent poem: “Ph, somebody else is lonely, too!”

Secret #9

In the end I would rather wonder than know.

*
Because I would rather wonder than know, my interests and talents lie in the arts rather than the sciences, although, like the monk who discovered champagne–an accidental event that unexpectedly happened to his wine–I have on occasion come running with open arms toward another with the news, “Look! I am drinking the stars!”

page 101

I would rather wonder than know. Yes!

a few hours later: Scrolling through instagram I found a poem by Laura Gilpin:

IV / Laura Gilpin

The things I know:
how the living go on living 
and how the dead go on living with them
So that in a forest
even a dead tree casts a shadow 
and the leaves fall one by one 
and the branches break in the wind 
and the bark peels off slowly 
and the trunk cracks
and the rain seeps in through the cracks 
and the trunk falls to the ground
and the moss covers it

and in the spring the rabbits find it 
and build their nest inside 
and their young will live safely
and have their young
inside the dead tree
So that nothing is wasted in nature
or in love.

I like this poem; I also like the title of the book it’s from — The Hocus-Pocus of the Universe — which made me remember a line from Ruefle’s lecture on secrets:

the sacred word is a secret and cannot be spoken without consequence, be it blessing or curse. There is simply too much power in certain words, and the unnerving force of naming casts a great spell over language and, in one very important sense, created poetry, since to invoke sacred powers, bypass words were employed, incantations without any meaning at all, such as abracadabra, words that of course became imbued with as much power as what they were trying to invoke. And then, as often happens, it worked in reverse, so that very sacred words or phrases bypassed themselves, through a living version of the parlor game Password, where a word is passed or repeated from ear to ear until it changes into gibberish. To my mind, the most paralyzing example of this process is one origin theory of the term hocus-pocus, that it was once hoc est corpus — This is my body ….”

page 81

may 4/RUN

3.5
locks and dam #1 hill loopmiles
60 degrees

Another warm day. Hooray! Another chance to run in shorts and a short-sleeved shirt. Saw Mr. Morning! Heard some voices down below in the gorge. Ran down the hill then back up it at locks and dam #1. Noticed a big pile of something on the path — clumps of dirt, rock, is that a furry tail? Probably not, but I can’t tell. Often, I see dead squirrels that aren’t there. The river was blue and not quite as high as it was last week.

Mary Ruefle and pink

before the run

from My Private Property/ Mary Ruefle

Pink sadness is the sadness of white anchovies. It is the sad-
ness of deprivation, of going without, of having to swallow
when your throat is no bigger than an acupuncture pin;
it’s the sadness of mushrooms born with heads too big for
their bodies, the sadness of having the soles come off your
only pair of soes, or your favorite pair, it makes no differ-
ence, pink sadness cannot be measured by a gameshow
host, it is the sadness of shame when you have done noth-
ing wrong, pink sadness is not your fault, and though even
the littlest twinge may cause it, it is the vast bushy top on
the family tree of sadness, whose faraway roots resemble a
colossal squid with eyes the size of soccer balls.

Today, or this morning at least, I shall think of pink. Here’s another pink poem I bookmarked a few months ago:

Against Pink / DARA YEN ELERATH

Pink is an unhappy hue, not soothing like cerulean, nor calming like lavender or gray. It is the color of fingernails shorn away, blood dripping from the waxen quick. It is the color of a sunburned arm. The color of harm that lingers on cut shins for days. Pink is not the shade of buttercups or daisies. It is the color of poisonous brugmansia blooms, of poppies that bring on sleep. Pink saturates the face in anger. It is the cast left on a cutting board by a hunk of uncooked meat. Pink, too, is the bittersweet shade of passion subdued, passion that has slipped from burgundy to rose. It is only a tincture of desire and so carries the least conviction. It is the tint that drifts away unnoticed in the night. Be frightened of pink. Do not think it the innocent color of dresses or barrettes, the blush of areolas, strawberry snow cones, or grenadine martinis. Try, for once, to see it rightly. It is frightening. It is the hue of a person’s insides, the color of a womb. That room where life arises. That room where babies are made. Where arms, legs, and heads are created. Eyes, blood, and tiny teeth.

And some of my thoughts about pink:

Pink Thing. The pink of gray matter. Pink Think. Pinkaliscious. Preppy Pink and Green. Is it pink or yellow? P!nk. Undercooked meat. Pepto Bismol always pronounced Pepto Bismo. The worst milkshake flavor: strawberry. Pink washing. Peonies in the backyard, drooping dropping petals too soon. The only choice when buying cheap running shorts. My favorite running jacket. Raw. Fleshy. Swim caps.

during the run

Some of my pink thoughts as I ran:

Fuschia funnels. Almost invisible, usually seen as white or yellow or orange. A walker in a pink jacket — the color of salmon flesh.

Pink as tender and vulnerable. Split open, flesh exposed. That vulnerability is both a weakness or a threat but also an opportunity to transform. Open yourself up. Turn yourself inside out. What was out becomes in, and what was in becomes out.

Running, as I listened to a P!nk song — What About Us, I lifted out of my hips, opened my shoulders, and led with my chest. Open.

If all gray flesh is dead flesh (from Listen/ Didi Jackson), then is all pink flesh living flesh?

Gray matter (brain) looks pinkish because of the blood circulating through it.

Both of these facts are true: We live. We die. We are pink. We are gray.

after the run

Reading Facebook earlier today, a post from Henri Mancini popped up — why? James Galway is in New York with Lizzo to record a new version of the Pink Panther theme song. Excellent. Found an article about it with video here.

Came across this poem too — I encountered this poem a few weeks ago, but can’t remember where.

Gift/ Hilda Conkling

This is mint and here are three pinks 
I have brought you, Mother.  
They are wet with rain  
And shining with it.  
The pinks smell like more of them  
In a blue vase:  
The mint smells like summer  
In many gardens.

And one more thing, before I forget. Yesterday I happened upon this delightful line from a Ross Gay poem I gathered a few years ago for this blog: Catalog of Unabashed Gratitude/ Ross Gay

the tiny bee’s shadow
perusing these words as I write them.

Later, sitting on the deck on a warm, sunny day — finally! — and under the service berry bush that’s big enough to be called a tree, I saw a shadow on my notebook as I jotted down a note: a bee! Then another shadow, crossing the page, over my words. Were they perusing them? Love it.

april 25/RUN

3.75 miles
2 trails + extra*
42 degrees

*extra = instead of ending the run at the 38th street steps, I kept going past the oak savanna and the overlook, down through the tunnel of trees, over the double bridge, before crossing over to edmund at 32nd and running back home

Felt warmer than 42 degrees with the sun and too many layers — black running tights, black shorts, long-sleeved bright yellow shirt, bright orange pull-over. The thing I noticed most today were the shadows. Heavy shadows everywhere. The shadows of trees, some stretching across the path, others leaning down, just above me. The shadow of a flying bird, a waiting lamppost.

10 Other Things I Remember from my Run

  1. the loud knocking of a woodpecker
  2. someone complaining to someone else on the phone. I first heard them up ahead of me near the old stone steps, then as I passed them on the trail, then about 10 minutes later from across the river road as I ran on the grass near edmund
  3. the river, blue with less foam, not quite as high. I was planning to admire its sparkle near the south entrance to the winchell trail but I was distracted by 2 walkers just ahead of me on the trail
  4. lower on the winchell trail the gorge below me was all river, no shore in sight
  5. a trickle of water at the 44th st sewer, gushing at 42nd
  6. kids playing at the school playground, yelling, laughing. one adult chanting something
  7. the leaning trees I noticed a few weeks ago are still leaning, almost blocking the trail. A few times, I had to duck to avoid small branches
  8. music playing (not loud enough to describe it as blasting) out of a car’s radio — some sort of rock music that I didn’t recognize
  9. one section of the split rail fence — where? I can’t remember — is broken and needs to be repaired
  10. most walkers I encountered were overdressed in winter coats, hats, gloves

Having finished my series of colorblind plates and feeling unmotivated to read the final sections of Ammons’ garbage, I’m project-less. Not a problem, except the lack of focus makes my mind wander everywhere. Here are just some of the things I thought about before my run this morning:

a new-ish bio

Once or twice a year, I take some time to submit poems to different literary journals. Not sure about the exact math, but I’d say I have about a 5% acceptance rate, which I don’t think is that unusual. I got used to rejection as an academic. Still stings though. Maybe that’s why I don’t submit that often. I think I also haven’t submitted a lot because I don’t care that much about being published, especially as a way to achieve fancy poetry status. But, I’d like to share my poems with a wider audience and if I only post them on my blog they don’t get read by a lot of people and I can no longer submit them to journals (most of the journals I’m encountering consider posting a poem on your personal blog as it being published already). I’d also like to apply for a grant and do an exhibit/installation of my vision test poems and I think having some of them published might help me to get that grant. So, with all that in mind, I’m currently sending poems out to different journals. As part of the submission, you write a cover letter and include a 50-150 word bio. A few days ago, I started playing around with my bio — I included a few in a post log entry on here. This morning I was still thinking about the bio. I was hoping my run would help me find another sentence for this unfinished bio:

Sara Lynne Puotinen lives in south Minneapolis near the Mississippi River Gorge where she enjoys conducting experiments in writing while moving, moving while writing, and doing both while losing her central vision. Sometimes she composes chants while running up hills, or uses her breathing patterns as she swims across a local lake to shape her lines. 

The run didn’t help. In fact, I forgot to even think about my bio. Oh well.

april 21, 2022

As part of my daily, “on this day” review, I was reading through past log entries early this morning. Last year’s was especially good (I almost wrote fire, but thought better of it — okay, I did actually write it, but then deleted it). So many things to put in my ongoing projects list!

First, this:

While I ran, I wanted to try and think about fungi as hidden, always in motion/doing (a verb, not a noun), and below. Had flashes of thought about what’s beneath us, and how I’m often looking down through my peripheral, even as I look ahead with my central vision. 

an experiment to try: While moving outside, give special attention to what’s beneath you, what you see, feel, hear at your feet. Make a list in your log entry.

variation: while trying don’t give attention to anything in particular. Just move. Then, in your log entry, try to remember 10 things you noticed below you.

Second:

I heard the creaking, squeaking branches and thought about old, rusty, long hidden/forgotten doors being opening — a trap door in the forest floor. I didn’t imagine past the open door or the idea that it led to the river basement (using basement here like ED in “I started Early — Took my Dog”). Still, I enjoyed thinking that I could access this door and something in my moving outside was opening a long shut door.

a question to consider: what doors await me in the gorge? where do they lead? how can I open them?

This morning, I was refreshing my memory of a Carl Sandburg poem I memorized a few years ago called “Doors.” If a door is open and you want it open, why shut it? If a door is shut and you want it shut, why open it?

Third: I love this poem — Mushrooms/ Sylvia Plath

Fourth:

An idea I have right now (25 april 2022, that is) for a poem involves playing off of these lines from Mary Oliver:

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

And this bit from Arthur Sze in an interview with David Naiman:

I began to think I love this idea that the mycelium is below the surface. It’s like the subconscious, then when the mushroom fruits pops up above ground, maybe that’s like this spontaneous outpouring of a poem or whatever.

Something like this?

Maybe like mushrooms, we rise
or not rise, flare
brief burst from below
then a return 
to swim in the dirt…

I (sara in 2023) would like to do something with this fragment, maybe tie it together with some of my thoughts about Ammons and garbage?

grass

Mary Oliver’s mention of grass reminded me of a poem I like by Victoria Chang, which led me to a log entry from Jan 11, 2022:

Left Open / Victoria Chang

We can’t see beyond
the crest of the wooden gate.
We are carriers
of grass yet to be grown. We
aren’t made of cells, but of fields. 

I like this idea of being a carrier of grass yet to be grown. My first thought was of grass on graves — Whitman’s “uncut hair of graves” or Dickinson’s “The color of the grave is green”. Then I thought of Gwendolyn Brooks’ “To the Young Who Want to Die”:

Graves grow no green that you can use.
Remember, green’s your color. You are Spring.

Of course, all this grass talk also reminded me of this part of the cento I just created as one of my colorblind plate poems:

The world mostly g
one, I make it what I want: I 
empty my mind. I stuff it with grass. 
I’m green, I repeat. I grow in green, burst u
p in bonfires of green, whirl and hurl my green
over the rocks of this imaginary life.

This cento is made out of lines from poems I’ve gathered for this log:
The world mostly gone, I make it what I want (Psalm with Near Blindness/ Julia B. Levine)
I empty my mind. I stuff it with grass. I’m green, I repeat. (Becoming Moss/Ella Frears)
I grow in green (Paean to Place/ Lorine Niedecker)
burst up in bonfires of green (The Enkindled Spring/ D. H. Lawrence
whirl and hurl my green over the rocks (Oread)
this imaginary life (The Green Eye/ James Merrill)

addendum, 26 april 2023: Reading back through my entries about A. R. Ammons as I prepare to post my monthly challenge for April, I encountered these lines from Ammons’ pome “Grassy Sound.” How could I have already forgotten them?!

The wind came as grassy sound 
and between its
grassy teeth
spoke words said with grass

Happy Birthday Ted Kooser!

Discovered via twitter that today would have been Ted Kooser’s 84th birthday. What a wonderful poet! I’ve gathered 6 of his poems for this log:

  1. Grasshopper/ Ted Kooser
  2. The Early Bird/ Ted Kooser
  3. A Heron/ Ted Kooser
  4. In the Basement of the Goodwill Store/ Ted Kooser
  5. Carrie / Ted Kooser
  6. Turkey Vultures/ Ted Kooser

april 18/RUN

5.3 miles
franklin hill turn around
44 degrees

Great weather for a run! Sunny, low wind, crisp air. Felt strong, relaxed, steady. Kept track of the river as I ran north. Decided I’d run as far on the river road trail as I could before it was closed for flooding. I made it to the bottom of the hill. Wow! How long before the river crests? I looked it up; not until Sunday. Wow! The river is rising because of how fast the snow melted last week.

Before heading back up the hill, I checked out the water and took a picture:

a walking and biking trail half flooded with river water

A few other people — some walkers, 2 dogs, a runner with a jogging stroller — were down here checking it out too.

As I ran north, I listened to the birds, the traffic, the silence. Heading back up franklin hill and running south, I listened to Taylor Swift’s 1989.

Shadows!

First it was the shadow of a bird flying over my head. Then my sharp shadow just in front of me. Then sprawling tree shadows stretched across the trail. I started seeing shadows everywhere and thinking about how they help me to navigate the world — how, when I can’t see something, I might be able to see its shadow cast on the sidewalk. I feel like there was another distinctive shadow, but I can’t seem to remember what it was.

Rust

At the very end of the run, Taylor Swift’s “Bad Blood” came on and I heard these lines:

I was thinking that you could be trusted
Did you have to ruin
What was shiny? Now it’s all rusted

And I remembered, yes, I’m very interested in rust as a color too. I last mentioned in on March 13, 2023 with Schuyler and ED’s “elemental Rust.” I’m thinking of it less as a color-as-noun (like brownish reddish orange), more as color-as-verb and in relation to erosion, decomposing, crumbling — this is where it connects with texture. Does this make any sense, even to me? Not sure, but it seems helpful to think of rust in relation to shiny. Are they in contrast to each other? Only if you imagine shiny and sparkling as new, which isn’t always the case.

Currently, I’m in the weird, all-over-the-place space with my 8th Ishihara plate poem. Trying to consider different possibilities, not shut out ideas, letting my mind meander and take strange (wrong?) turns. This morning I had big ideas about creating a playlist of sparkling, shimmering, dazzling, glittering songs that could help me to find a way into the poem (this method worked with listening to frank ocean’s channel ORANGE as I wrote orange). Not sure it’s working, it’s harder to find “glitter” songs that aren’t by Mariah Carey. Plus, I do better when my inspirations are more slanted, less direct, less literal.

In the hopes of offering a little focus, here are some non-music inspirations and ideas I’m currently drawing from and that I’ve listed in my notes:

1

Eamon Grennan’s beautiful silver ribbon in “Lark-Luster”: when summer happens, you’d almost see the long silver ribbons of song the bird braids as if binding lit air to earth that is all shadows, to keep us (as we walk our grounded passages down here) alive to what is over our heads—song and silence—and the lot of us leaning up: mind-defeated again, just harking to it.

2

Tell me how do I steady my gaze when everything I want is motion? Saccadic Masking/ Paige Lewis

3

dazzle
razzle-dazzle
radiate
gleam (as in gleaming bronze)
glimmer
spangle
catch the light
twinkle
glint
reflect, echo, bounce

4

texture — unsteady rough, not smooth ridged, not flat, patterned — and its influence on light: bird feathers, wind on water/waves, crumbling pavement potholes asphalt pools (puddles), gray depressions — holes/pits in snow casting shadows that look gray

5

heat energy flame burn flicker flare: a. giving forth dazzling, unsteady light, b. sudden outburst, short-lived, intense, c. gradual widening, spreading out, display in expanded form

6

A. R. Ammons and another wordless language, not made up of reds and blues and yellows: mutual glistening in a breezy grove of spring aspen speech

There are more influences to come, but I’ve run out of time, so I’ll stop at 6.

april 17/RUN

4.25 miles
minnehaha falls and back
37 degrees / feels like 32
wind: 21 mph

It snowed most of the day yesterday, only a dusting. Today it’s windy and much colder than a week ago. That wind! My ears ache from it now, sitting at my desk, 20 minutes after finishing.

Difficult to pay attention to anything other than the wind. In the first mile, I started chanting, I am the wind and the wind is invisible. All the leaves tremble, but I am invisible. Then I thought about how I might not be able to see the wind, but I could sure feel it! At that point, I began to wander a little. I’ll try to remember: I can’t see wind, but I believe in it/not seeing is believing/what you see is not what you get/belief/last year’s monthly challenge — wysiwyg

Tried to notice things that moved or sparkled but got distracted. Instead I gave attention to the shadows and thought about contrast — distinct lines, sharp divisions, dark shadows / light pavement, ground, grass

Forgot to look at the river. I bet it was sparkling.

The falls were roaring. The park was crowded. Lots of kids at the playground. An adult playing “hot/cold” with someone. I could hear her calling out, hot! warm warm cold! cold!

Ran on some grit, listened to it sizzle.

Encountered some walkers and runners. I don’t remember seeing any bikers — was that because of all the wind, or did I just forget that I saw them?

For the last mile of the run, I was slowly creeping up on another runner. I tried to slow down so I could keep an even (and far) distance behind him, but I still kept creeping up. Finally, I crossed over to edmund so we were running parallel to each other, divided by the boulevard and the parkway. Within 30 seconds, I passed him.

Tracked the Boston Marathon this morning. Happy that Helen Obiri won and that Emma Bates ran so well. Bummed that Des Linden and Eluid Kipchoge didn’t have great days.

Listened to the rushing wind, yelling kids, sizzling sand, gushing water on the way to the falls. Listened to my swim meet motivation playlist on the way back north.

A. R. Ammonds’ garbage

Onto section 14 today.

the leavings…

anything
thrown out to the chickens will be ground fine

in gizzards or taken underground by beetles and
ants: this will be transmuted into the filigree

of any feelers’ energy vaporizations: chunk and
smear, grease and glob will boil refined in

time’s and guts alembics

alembics = a distilling apparatus used in alchemy

I love the pairing of time and guts here.

on meaningless:

meaningless = a place not meaning yet OR never to mean, which is the emptiness and endlessness of space, the distances of stars OR what to make of so many meanings

it is
fashionable now to mean nothing, not to exist,

because meaning doesn’t hold, and we do not exist
forever; this is forever, we are now in it;

Not sure what to do with this section, except this: I don’t want to try and summarize it. Even as I didn’t grasp everything, I enjoyed reading it, like his references back to earlier parts of the poem, including his love of the baked potato. starch (in Arch) in the potato/meets with my chemistry to enliven by chemistry and the comfort he finds in being free of the complexes of big meaning. And I love his vivid descriptions of breaking down/decomposing. garbage is influencing my writing of my colorblind plate poems, but in slight, slant, off to the side ways.

a final colorblind plate (the 8th)

I have decided that I have one more plate poem to write. It will be about silver and the glitter effect and seeing color as movement and contrast and poetry. Inspired by something I heard on my new favorite show (Escape to the Chateau), I searched “luster” on the Poetry Foundation and found a wonderful poem by another one of my favorite poets, Eamon Grennan. (The line I heard was: Dorothy does glitter, I do luster. It was spoken by mom Angel and refers to her 5 year-old daughter Dorothy. I might have to find room for the differences between glitter and luster in my poem!)

Lark-Luster/ Eamon Grennan

Gravity-defying, the lark in the clear air of a June morning stays aloft on a hoist of song only, and only when song goes as breath gives out does the bird let itself down the blue chute of air in such an aftermath silence so profound you’d think it was a double-life creature: one life aloft in blue, all clarity, the other hidden in the green swaddle of any rocky field out here where, when summer happens, you’d almost see the long silver ribbons of song the bird braids as if binding lit air to earth that is all shadows, to keep us (as we walk our grounded passages down here) alive to what is over our heads—song and silence—and the lot of us leaning up: mind-defeated again, just harking to it.

Oh, that long silver ribbon of song that you can almost see! Love it.

march 30/WALKRUN

walk: 45 minues
neighborhood, with Delia the dog
30 degrees

Took Delia out for a walk around the neighborhood. North, then east past Cooper School and the giant mounds of snow plowed somewhere else then deposited on this field. Past the house that had been half-finished then abandoned a few years ago and is now finished and on the market for almost $900,000. Past the new Minnehaha Academy, which replaced the old one that blew up a few summers ago because of a gas leak — I heard it happen when I was out in my backyard mowing the lawn. Such a strange, loud BOOM!

Then south near the spot where some of the best fall color trees used to reside until they were marked for death with orange spray paint then chopped down — the brightest, most wonderful yellow every year. Under the huge, towering trio of cottonwood trees — the Cottonwood 3. Past the house with the oddly terraced lawn and the big windows, rarely covered with curtains or blinds in the evening so we were able to see, when returning by car in the evening from a baseball game or a clarinet recital, all the way to the back wall where letters hung on a shelf spelling out a word that none of us — not me or Scott, RJP or FWA — could ever decipher.

West, past the house with the wonderful butterfly garden on the boulevard, and the house that used to string bright lights around their giant — higher than the house — fir tree every winter. Was 2022/23 the first year they didn’t? Past the house with the bushes that, the first Christmas we lived in this neighborhood suddenly stopped their exuberant chatter when we walked by and Scott started talking. I noticed that those same bushes, birdless today, were a strange orangey, yellowy green. My guess is that they are dying, but maybe it’s just new growth that is confused by the return of the cold winter weather. Past the house that has one of the best gardens in the neighborhood and where I saw/heard someone giving a backyard cello lesson during the first year of the pandemic.

When we started the walk, the sky was blue and it was bright enough for sunglasses. Within a few blocks the sky was a grayish white. Still, quiet, no one around. Thought some more about color and how I still (mostly) see it, but that it doesn’t mean much anymore. It doesn’t mean nothing, just not much (this line is inspired by a line from the Bishop poem below that I read before my walk and run). Color doesn’t brighten or enhance what I see. Everything is soft and subdued. About halfway through the walk, I stopped to record some of my thoughts, including:

  • orange, which has been the most important color for me practically, doesn’t matter as much anymore
  • orange sounds (inspired by hearing some dead orange leaves rustling in the wind): sizzle, crackle
  • The only color that matters to me now is the silver flash of the bottom of the lifeguard’s boat on the other side of the lake; I use the silver flash for navigating during open swim

run: 3.1 miles
turkey hollow
33 degrees

While walking, I noticed at least 3 people running, which inspired me to go out there myself after I dropped Delia off at home. I felt a little stiff as I ran. My hip again? Otherwise, the run was fine. Ran turkey hollow but didn’t see any turkeys. Ran most of it without headphones. Put in a Taylor Swift playlist for the last mile. Was able to run on the walking path a lot of the time. Noticed more people heading below to the Winchell Trail. Sped up to pass a walker and a dog moving fast. Heard some sharp dog barks, saw some car headlights, their reflections flashing on a window.

(before the run)

This poem popped up on my twitter feed this morning. I was drawn to it because of its description of a walk — it’s a walk poem! Also: her use of color and of the phrase, “nothing much,” and how marvelously sets up the scene in the first stanza.

The End Of March/ Elizabeth Bishop (June 1974)

For John Malcolm Brinnin and Bill Read: Duxbury

It was cold and windy, scarcely the day
to take a walk on that long beach
Everything was withdrawn as far as possible,
indrawn: the tide far out, the ocean shrunken,
seabirds in ones or twos.
The rackety, icy, offshore wind
numbed our faces on one side;
disrupted the formation
of a lone flight of Canada geese;
and blew back the low, inaudible rollers
in upright, steely mist.

The sky was darker than the water
–it was the color of mutton-fat jade.
Along the wet sand, in rubber boots, we followed
a track of big dog-prints (so big
they were more like lion-prints). Then we came on
lengths and lengths, endless, of wet white string,
looping up to the tide-line, down to the water,
over and over. Finally, they did end:
a thick white snarl, man-size, awash,
rising on every wave, a sodden ghost,
falling back, sodden, giving up the ghost…
A kite string?–But no kite.

I wanted to get as far as my proto-dream-house,
my crypto-dream-house, that crooked box
set up on pilings, shingled green,
a sort of artichoke of a house, but greener
(boiled with bicarbonate of soda?),
protected from spring tides by a palisade
of–are they railroad ties?
(Many things about this place are dubious.)
I’d like to retire there and do nothing,
or nothing much, forever, in two bare rooms:
look through binoculars, read boring books,
old, long, long books, and write down useless notes,
talk to myself, and, foggy days,
watch the droplets slipping, heavy with light.
At night, a grog a l’américaine.
I’d blaze it with a kitchen match
and lovely diaphanous blue flame
would waver, doubled in the window.
There must be a stove; there is a chimney,
askew, but braced with wires,
and electricity, possibly
–at least, at the back another wire
limply leashes the whole affair
to something off behind the dunes.
A light to read by–perfect! But–impossible.
And that day the wind was much too cold
even to get that far,
and of course the house was boarded up.

On the way back our faces froze on the other side.
The sun came out for just a minute.
For just a minute, set in their bezels of sand,
the drab, damp, scattered stones
were multi-colored,
and all those high enough threw out long shadows,
individual shadows, then pulled them in again.
They could have been teasing the lion sun,
except that now he was behind them
–a sun who’d walked the beach the last low tide,
making those big, majestic paw-prints,
who perhaps had batted a kite out of the sky to play with.

colors

  • The sky was darker than the water
    –it was the color of mutton-fat jade.
    Mutton-fat jade = white to pale yellow, so it must refer to the color of the water, not the sky.
  • wet, white string
  • my crypto-dream-house, that crooked box
    set up on pilings, shingled green,
    a sort of artichoke of a house, but greener
    (boiled with bicarbonate of soda?)
  • diaphanous blue flame
    would waver, doubled in the window
  • the drab, damp, scattered stones
    were multi-colored

a line I like

I’d like to retire there and do nothing,
or nothing much,

Thinking about the difference between nothing and nothing much. Nothing seems bigger and grander, more dramatic — too dramatic. Is it even possible to do nothing and still be alive? I like nothing much. There’s nothing grand or dramatic about it, yet it still undercuts the idea that we should be Doing Something! all the time. Nothing much is mundane, routine. You’ve done some things but nothing special or worth making a big deal out of.

I like this poem. Even so, the more I read it the darker and heavier it seems. The gross colors (mutton fat jade? boiled artichoke?), the icy wind, everything gone or almost beyond repair. And here’s something else I just realized: according to an essay I read about this poem, it was written after a visit in June. June! (And no random June, but June of 1974, the month and year I was born.)

In June of 1974 Elizabeth Bishop and her partner Alice Methfessel stayed at the Duxbury, Massachusetts beach house belonging to Bishop’s friends John Malcolm  Brinnin and Bill Read. Bishop reported that she initially wrote “The End of March” as a kind of thank-you note to her friends (Biele 55).

“The End of March”: Bishop and Stevens on the Sublime—Union or Relation?

If Duxbury, Massachusetts is anything like the UP (where I was born and visited a lot in the summer until the early 2000s), Bishop could be describing a summer’s day. Icy wind, too cold to walk for long, sunless? Yuck.

In the article I read skimmed, the author puts Bishops’ poem into conversation with Wallace Stevens, specifically his poem, “The Sun this March” but also other poems of his. I kept thinking about it in relation to A. R. Ammons’ “Corsons Inlet”, another walk poem by the sea. It’s long, so here’s just the opening:

I went for a walk over the dunes again this morning
to the sea,
then turned right along
the surf
rounded a naked headland
and returned

along the inlet shore:

it was muggy sunny, the wind from the sea steady and high,
crisp in the running sand,
some breakthroughs of sun
but after a bit

continuous overcast:

the walk liberating, I was released from forms,
from the perpendiculars,
straight lines, blocks, boxes, binds
of thought
into the hues, shadings, rises, flowing bends and blends
of sight:

Both poems have wind and only a little bit of sun. Ammons seems warmer, at least at the beginning with its muggy sun and crisp wind. And both involve not doing much. Here’s how Ammons concludes the poem:

I see narrow orders, limited tightness, but will
not run to that easy victory:
still around the looser, wider forces work:
I will try
to fasten into order enlarging grasps of disorder, widening
scope, but enjoying the freedom that
Scope eludes my grasp, that there is no finality of vision,
that I have perceived nothing completely,
that tomorrow a new walk is a new walk.

Their different perspectives on how a walk, and the world by the sea that they move through, inspire them and their writing is fascinating to me. Bishops is narrow and restraining and finished?, while Ammons is all over the place and almost too free, too formless. And, it’s alive, new, continuously renewed day after day.

I’ve wanted to study A.R. Ammons poetry for a few years now. I think finding the Bishop poem, then being reminded of Ammons, is the nudge I need to make this a mini-project! I’ll end March/begin April with Ammons!