Tag: the regulars

sept 29/RUN

4 miles
wabun park and back
64 degrees

Warm again this morning. More fall colors — mostly golds with a few hints of red. Recited “Spring and Fall” a few times, but didn’t think about it much. I might memorize a few fall poems for October.

10 Things I Noticed

  1. The river glowing through the trees
  2. A kid’s cry coming from somewhere
  3. Several loud rustling sounds in the dry underbrush
  4. Two or three wild turkeys near the start of the Winchell Trail, on the other side of the chain link fence. I’ve never encountered them here before!
  5. The curve of a log, serving as a bench at the frisbee golf course in Wabun Park
  6. A loud chirping sound that might have been a bird or a squirrel
  7. The flailing arms of an approaching runner
  8. High in the sky, the moon, faintly glowing
  9. The new (is it new?) fence surrounding one side of the bottom of the ford bridge near Locks and Dam #1
  10. A few regulars: the older man (mid 60s, white hair) runner whose fast and friendly and the walker with shoulder length blonde hair

A solid run that improved my mood.

Here’s my approximate/almost/not quite poem of the day:

When Night is almost done – / Emily Dickinson

When Night is almost done –
And Sunrise grows so near
That We can touch the Spaces –
It’s time to smooth the Hair –

And get the Dimples ready –
And wonder We could care
For that Old – faded Midnight –
That frightened – but an Hour –

july 11/RUN

3.15 miles
trestle turn around
72 degrees
humidity: 81%/ dew point: 65

Thunderstorm early this morning then sun and humidity. I’m pretty sure the Olympian Carrie Tollefeson passed me right before the lake street bridge. Very cool. Heard some black capped chickadees. Ran up 43rd ave then down 32nd st to the river so I was able to run right by the aspen eyes. Didn’t hear any rowers or see the river or any “regulars,” like the Daily Walker or last year’s man in black or the tall, slim, older man in the running shorts. I don’t see any regulars this year. Strange and sad.

Recited the first half of Maria Howe’s “The Meadow” — a poem I memorized 3 years ago when I was injured but have mostly forgotten. I had been planning to memorize Wordsworth’s “I wander lonely as a cloud” but it seemed too cheesy or sing song-y or poem-y (whatever that means). I think I’ll wait to memorize his snowflake this next winter instead.

The Meadow/ Marie Howe (first half)

As we walk into words that have waited for us to enter them, so
the meadow, muddy with dreams, is gathering itself together

and trying, with difficulty, to remember how to make wildflowers.
Imperceptibly heaving with the old impatience, it knows

for certain that two horses walk upon it, weary of hay.
The horses, sway-backed and self important, cannot design

how the small white pony mysteriously escapes the fence everyday.
This is the miracle just beyond their heavy-headed grasp,

and they turn from his nuzzling with irritation. Everything
is crying out. Two crows, rising from the hill, fight

and caw-cry in mid-flight, then fall and light on the meadow grass
bewildered by their weight. A dozen wasps drone, tiny prop planes

sputtering into a field a farmer has not yet plowed,
and what I thought was a phone, turned down and ringing,

is the knock of a woodpecker for food or warning, I can’t say.
I want to add my cry to those who would speak for the sound alone.

On my walk home after I finished, I recorded myself reciting this first half. A few wrong words or forgotten phrases. I love the line, “this is the miracle just beyond their heavy-headed grasp” and the pleasing rhymes in “two crows fight and caw-cry mid-flight, then fall and light on the meadow grass”

The Meadow, first half, July 11

Discovered Antonio Machado, a Spanish poet who lived from 1875-1939, and his delightful “Proverbs and Canticles” yesterday. Here are a few:

canticle: a hymn or chant, typically with a bible verse

I

The mode of dialogue, my friends,
is first to question:
then . . . attend.

III

The poets does not pursue
the fundamental I
but the essential you.

IV

In writing verses, seek
to give them a double light: one
to read square by, one oblique.

jan 14/RUN

3.2 miles
trestle turn around
27 degrees
100% slushy loose snow-covered

It snowed a few inches on Sunday, a few more last night. Not enough to plow but enough to cause problems on the path. Wore my yak trax and that helped. Except for the bad stretch between the lake street bridge and the trestle. It’s always windy and the path is always covered. Nearing the trestle, my legs felt really tired from all of the sliding around I was doing. I stopped to take a break and put my headphones in. This seems to be a trend: running one way with no headphones, the other with them in. Not sure if I like this habit. It’s harder to listen to the gorge with headphones in.

the daily delight

Just after I reached the river, running on the bike path near the road, I heard a shimmering shaking sound as the wind blew roughly through some dead leaves on the trees closer to the gorge. It was my friends, the Welcoming Oaks! I imagined that they were calling out to me, “Hi friend, we miss you. When will you run on the walking path near us again?”

a strange image

With a quick glance down, the river looked like a brown wall to me. Flat and vertical instead of horizontal. So strange. Looking again, for longer, it stopped being a wall.

the daily walker

Perhaps the biggest reason I take note of and remember the Daily Walker is that he is always by the gorge walking. No matter what the weather. Usually wearing 2 long sleeved shirts and no coat. Rarely a hat. Since I started writing in this log, I’ve seen him almost every time I’ve ran. I admire his consistency and aspire to be him in a few decades. But there is another reason I take note of him: his gait. I’m not sure what happened to him–maybe he had a stroke?–but his arm swing–I think his left arm–is very exaggerated. It swings out wide. This swinging motion is how I can see that it is him. Without it, I’m not sure I would remember him. Even after passing him hundreds of times. I hardly ever remember faces anymore because I can’t see them clearly. I rely on other features–hair, clothes, how a body moves. As I near someone on the path, I always look for the tell-tale swing and I know it is him. Today he was there and we greeted each other.

A few days ago, I watched the short documentary, Notes on Blindness. Wow! Discovered that it’s been turned into a longer documentary and that it’s on Netflix. Cool. I’ll need to watch that soon. At some point in the film while discussing how we can’t see or remember his wife’s or kids’ faces, Hull asks,

To what extent is the loss of the image of the face tied up with the loss of the image of the self and with the consequent feeling of being a ghost or a mere spirit?

I can still see the outline of faces and haven’t lost my memory of ones important to me, but this idea of losing a sense of the self–at least a self beside other selves–because I can’t see faces, resonates for me. When I don’t recognize family members’ and friends’ faces, I feel less human, more spectral.

feb 22/RUN

4.3 miles
mississippi river road path, north/south
19 degrees/feels like 19 degrees
100% snow-covered

feels like: this snow is here to stay forever, the white is too bright, a strange dream, slick, soft, sibilant

layers: (too much) green shirt, orange shirt, black jacket, black vest, buff, hood, visor, 2 pairs of tights, 1 pair of socks. gloves. 2 miles in, the gloves came off.

Not much sun but the snow was very bright. So white. White path, white walls, white sky. No snow on the river though. Walking, right before I started running, I heard the birds. Determined to make spring come soon. They started chirping a few weeks ago. The run was fun. I like running on snow, even if it is uneven in spots. Encountered a few other runners, the Daily Walker!, the man in black (the one I mentioned yesterday)–we greeted each other and he seems very nice so I’m not freaked out by how tall he is now, 2 fat tires, a few dogs. Thought about the marathon again as I neared the franklin bridge. Also thought about a poem I read this morning: Robert Duncan’s “Often I am Permitted to Return to a Meadow.” I was trying to think about the made place in my mind that I return to. I struggled to hold onto any thought about the poem or places I imagine. I kept thinking about my breathing and not slipping on a slick spot or twisting my ankle on an ice chunk.

Often I Am Permitted to Return to a Meadow
Robert Duncan

as if it were a scene made-up by the mind,
that is not mine, but is a made place,

that is mine, it is so near to the heart,
an eternal pasture folded in all thought
so that there is a hall therein

that is a made place, created by light
wherefrom the shadows that are forms fall.

Wherefrom fall all architectures I am
I say are likenesses of the First Beloved
whose flowers are flames lit to the Lady.

She it is Queen Under The Hill
whose hosts are a disturbance of words within words
that is a field folded.

It is only a dream of the grass blowing
east against the source of the sun
in an hour before the sun’s going down

whose secret we see in a children’s game
of ring a round of roses told.

Often I am permitted to return to a meadow
as if it were a given property of the mind
that certain bounds hold against chaos,

that is a place of first permission,
everlasting omen of what is.

This poem is the first poem in Duncan’s 1960 book, The Opening of the Field. He was part of the Black Mountain Poets. Charles Olson was another member of the Black Mountain Poets. In doing some research on Duncan and this poem, I encountered Olson’s idea of projective verse: poetry shaped by rhythms of poet’s breath. So cool–I want to explore this more, thinking about breathing when I run vs. walk vs. sit.

Olson argues that the breath should be a poet’s central concern, rather than rhyme, meter, and sense. To listen closely to the breath, Olson states, “is to engage speech where it is least careless—and least logical.” The syllable and the line are the two units led by, respectively, the ear and the breath:

“the HEAD, by way of the EAR, to the SYLLABLE
the HEART, by way of the BREATH, to the LINE”

poetry foundation introduction to “Projective Verse”