Tag: time

march 29/RUN

5.3 miles
bottom of franklin hill and back
18 degrees

Yes, 18 degrees. Brr. Yesterday the weather app predicted 20 inches of snow for next week. Thankfully today it’s predicting 2 inches of rain instead. Who knows what will actually fall (please, please, no snow!).

A nice run. Mostly relaxed, although my left hip/knee was a little tight. No headphones for the first 3 miles, then a playlist for the last 2.

Noticed the river — open and brown just off to the side as I ran down Franklin hill, a bright blue far off in front of me. Also noticed an orange sign announcing a road closure for a race this weekend at the bottom of the hill and to the left. I kept moving my eyes — straight ahead, then off to the right, off to the left — to see how that would change what I saw. Not much, although the orange did seem to disappear in my peripheral a few times. Strange.

Heard the knocking of a woodpecker on some dead wood in the gorge. Ran on more of the walking path. Shuffled on some grit. Felt a cold wind on my face.

Look!

Just restarting my run near the top of the hill, a woman stopped me and asked if I wanted to see a baby screech owl. It was 10 or 12 feet up in a small hollow in a tree. I was worried that I wouldn’t be able to see it, but I did! It looked like a little bat to me. I thanked the woman for stopping to show it to me, wished her a great morning, then began running again with a big smile on my face. I have wanted to stop and answer someone’s kind look! for some time now, but I’ve never managed to do it; I’ve just kept running, too intent on keeping moving. Today I stopped and it felt good.

Happy Birthday to my 2 wonderful kids, FWA (20) and RJP (17), born on the same day 3 years apart. I rarely mention their birthdays on my blogs — I just spent the last 5 minutes looking through Trouble, Story, and RUN! and found only 2 instances of it. It’s hard to believe that I started this log, and found poetry again, when FWA was 14 and RJP 11.

before the run

I’m still trying to work on a series of color poems. Right now: orange, later in May: green. It’s a lot of showing up, sitting in front of the page, trying to find a way into ideas about orange as the color that takes up the most space in my practical life. Orange, everywhere. Rarely bright orange — no pops of vermillion or citrus — but orange as usually (not always) the only color that registers as color, something other than gray or dark. In the midst of trying to figure this out, I returned to an essay I remembered reading last year (see: april 16, 2022) about poetry and the void. I thought of it because so much of seeing orange, especially when swimming across the lake in the summer, is about feeling its absence.

sometimes when I’m swimming across the lake I feel a presence that I can’t see — the idea of orange, a hulking shape…I look but nothing is there…yet, I feel its absence…something is there — the trees don’t look quite right

june 26, 2022: hardly ever saw the orange of the orange buoy, mostly just a hulking shape or a void surrounded by a “normal” view — there was no buoy, just an empty space that disrupted the expanse of sky and trees. 

from my notes for Orange

Elisa Gabbert offers this interesting line about poetry:

I think poetry leaves something out. All texts leave something out, of course — otherwise they’d be infinite — but most of the time, more is left out of a poem.

The Shape of the Void: Toward a Definition of Poetry/Elisa Gabbert

At this point, I was planning to write more, but it was already 10:45 and I wanted to go out for a run before it got much later, so I stopped. If I had kept writing, I would have included more from Gabbert, like this:

Verse, by forcing more white space on the page, is constantly reminding you of what’s not there. This absence of something, this hyper-present absence, is why prose poems take up less space than other prose forms; the longer they get, the less they feel like poems. It’s why fragments are automatically poetic: Erasure turns prose into poems. It’s why any text that’s alluringly cryptic or elusive — a road sign, assembly instructions — is described as poetic. The poetic is not merely beauty in language, but beauty in incoherence, in resistance to common sense. The missingness of poetry slows readers down, making them search for what can’t be found. 

The hyper-present absence of something (orange orange everywhere) as poetry. Its inability to reveal itself in “normal” and straightforward ways to me (as in: look with my eyes and see orange). Its missingness makes me notice/attend to it even more.

In the next line, Gabbert suggests that the frustration of incoherence, mystery, not being able to make sense of something is alluring, erotic. It’s why many of us are drawn to poetry — to slow down, notice, get the chance to dwell in the unknown. Before I left for my run, I was thinking about how my perspective is slightly different. I don’t need to be encouraged to slow down or given the chance to embrace incoherence, resist common sense. Because of failing vision and my overworked brain, I am already slow. Much of what I see is incoherent — or never quite coherent. Common sense ideas of how we see or how to be in the world have already been upended for me. I see poetry, and its way of navigating or negotiating or communicating/finding meaning not as desirable, but as necessary, practical, useful, a way to be that speaks to where I already am.

during the run

I started out thinking about the hyper-presence of an absence as I ran in terms of the open space of the gorge, but these thoughts didn’t last long. I became distracted by my effort. Did I ever return to them? If I did, I can’t remember.

after the run

After highlighting two delightful letters by poets Emily Dickinson and Rainer Marie Rilke, Gabbert writes:

In these letter-poems, poetry reveals itself as more a mode of writing, a mode of thinking, even a mode of being, than a genre. The poem is not the only unit of poetry; poetic lines in isolation are still poetry. The poem is a vessel; poetry is liquid.

Poetry as a mode of writing, thinking, being. Made of more than just poems. Yes! I do feel that often my way of navigating losing my vision, finding a way to be when I cannot see, is through the approach of poetry and embracing uncertainty and the unknown.

The architect Christopher Alexander thought big plate glass windows were a mistake, because “they alienate us from the view”: “The smaller the windows are, and the smaller the panes are, the more intensely windows help connect us with what is on the other side. This is an important paradox.” To state the Forsterian obvious again, adding breaks to a paragraph is not always going to make an interesting poem — but most poets don’t write that way. They write in the line, in the company of the void. That changes how you write — and more profoundly, how you think, and even how you are, your mode of being. When you write in the line, there is always an awareness of the mystery, of what is left out. This is why, I suppose, poems can be so confounding. Empty space on the page, that absence of language, provides no clues. But it doesn’t communicate nothing — rather, it communicates nothing. It speaks void, it telegraphs mystery.

To write, to think, to be in the company of the void — the absence that leaves a residue or that can’t be seen but is always felt.

This idea of communicating nothing (with nothing not as no thing but as something in and of itself) reminds me of something else I read earlier this year about “making nothing happen” but couldn’t remember where I had read it. It took me almost an hour to track it down yesterday. The “make nothing happen” is in W. H. Auden poem for Yeats:

from In Memory of W. B. Yeats/ W. H. Auden

II

You were silly like us; your gift survived it all:
The parish of rich women, physical decay,
Yourself. Mad Ireland hurt you into poetry.
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.

And the reading about it comes from Ross Gay and one of his incitements in Inciting Joy, which I first read as an essay for the October 2022 issue of Poetry:

I can’t tell you how many times I’ve heard conversations about W. H. Auden’s famous line from his poem “In Memory of W.B. Yeats”: “poetry makes nothing happen.”…At some point, probably I heard someone else say it,7 it occurred to me that all these poets, and all these conversations, were misreading Auden’s line, and that he was really talking about (inasmuch as a poem is him talking about something) what poetry makes, the sometimes product or effect or wake or artifact of poetry, of a poem. Granted the line feels emphatic, grand, provocative even—seriously, I can’t tell you how many tweed-jacketed refutations to Auden’s line I have endured; no one has ever explained to me the elbow patch—but what the line makes made is not nothing, but nothing happening. Or rather, nothing happening. The happening it makes is nothing. In other words, a poem, or poetry, can stop time, or so-called time at least. First of all, what a good reminder it is that a poem is an action, and as Auden has it, a powerful one, too. Secondly, and not for nothing, this is one of the suite of poems Auden wrote in the late thirties and early forties, a period when one might have wanted so-called time—the clock, the airplanes, the trains, the perfectly diabolical synchronous goosestep rhythm of time itself—to stop.

Out of Time (Time: The Fourth Incitement)/ Ross Gay

He adds:

you, too, might’ve been praying for a way to stop the march of so-called time, and poems, sometimes, might do that. Poems are made of lines, which are actually breaths, and so the poem’s rhythms, its time, is at the scale and pace and tempo of the body, the tempo of our bodies lit with our dying. And poems are communicated, ultimately, body to body, voice to ear, heart to heart.9 Even if those hearts are not next to one another, in space or time. It makes them so. All of which is to say a poem might bring time back to its bodily, its earthly proportions. Poetry might make nothing happen. Inside of which anything can happen, maybe most dangerously, our actual fealties, our actual devotions and obligations, which is to the most rambunctious, mongrel, inconceivable assemblage of each other we could imagine.

Perhaps I’m wandering too far away from the orange void here? Poetry as speaking the void, making Nothing happen, existing outside of the normal/rational/obvious/taken-for-granted. Gay’s explicit connection to time and against capitalism resonates deeply for me. Stop those clocks, those planes, that machinery we’re using to destroy the planet, the future.

The poem’s lines as breaths, as bodily rhythms. In a poem about the color gray I mentioned gray breaths. What are orange breaths? Orange time, orange rhythm?Orange devotions and obligations?

One last thing, and a return to Gabbert’s essay. Gabbert claims that the mystery of poetry is not simply metaphor or making things strange, but how we use or don’t use language to shape our relationship to the Void. And, she suggests it is the missing mountain in Shane McCrae’s “The Butterflies the Mountain and the Lake”:

the / Butterflies monarch butterflies huge swarms they
Migrate and as they migrate south as they
Cross Lake Superior instead of flying

South straight across they fly
South over the water then fly east
still over the water then fly south again / And now
biologists believe they turn to avoid a mountain
That disappeared millennia ago.

The missing mountain is still there. The no longer visible orange buoy is still there too.

added a few hours later: Trying to find a source for this cool butterfly fact, I discovered that it was written about in Annie Dillard’s Pilgrim at Tinker Creek:

Monarchs are “tough and powerful, as butterflies go.” They fly over Lake Superior without resting; in fact, observers there have discovered a curious thing. Instead of flying directly south, the monarchs crossing high over the water take an inexplicable turn towards the east. Then when they reach an invisible point, they all veer south again. Each successive swarm repeats this mysterious dogleg movement, year after year. Entomologists actually think that the butterflies might be “remembering” the position of a long-gone, looming glacier. In another book I read that geologists think that Lake Superior marks the site of the highest mountain that ever existed on this continent. I don’t know. I’d like to see it. Or I’d like to be it, to feel when to turn.

Pilgrim at Tinker Creek, page 253-254 in the 1988 edition

Even as I’m disappointed that Dillard didn’t offer any sources for her facts here, I LOVE her last lines: I don’t know. I’d like to see it. Or I’d like to be it to feel when to turn. Not to see, but to be it, to feel it. Wow — this idea is going in my orange poem, for sure. Not to see orange, but to be it, or to feel when to turn around it. I do feel that, but can I ever put it into words?

march 6/SHOVELBIKERUN

shovel: 35 minutes
2 inches of heavy, sloppy snow

Yuck! Woke up this morning, walked downstairs, opened the blinds. Hello huge tree branch sprawled across the side yard! Sometime during the night as it snowed a branch from my neighbor’s tree fell. It starts in their yard and ends by the edge of my house. Luckily, no damage. I wonder how long it will be before it’s removed? Later, after coffee, I went outside to shovel. I had been warned by one of my favorite Facebook friends that it was “heart-attack-on-a-shovel snow,” so I was slightly prepared. So heavy and wet and difficult to move! I did a lot of deep knee bends, trying to lift with my legs instead of my back.

I thought about running outside, but decided it was too sloppy, and possibly slippery. So, down to the basement for me.

bike: warm-up
run: 2.25 miles
basement
outside: snow

During my brief bike ride, I recited ED’s “I measure every Grief I meet.” I’ve memorized the entire thing now. Well, mostly. I don’t quite own the words, stumbling over a few still. I love memorizing ED poems because it gives me a chance to study the poems, especially the word choice. As I struggle to remember the words, or remembered them wrong, I realize what interesting/strange/delightful choices ED makes. Today’s favorites:

And though I may not guess the kind —
Correctly — yet to me
A piercing Comfort it affords
When passing Calvary —

To note the fashions — of the Cross —
and how they’re mostly worn —
Fascinated still to presume
That Some — are like my Own —

During the run I listened to the latest “Nobody Asked Us with Des and Kara.” They were talking about recent races, super shoes, fast times, and the future of track. Reflecting on how world records keep being broken Kara asked Des: “What do you think would happen if they took away the clock? Would the race still be exciting?” Des thought it could be, while my mind started wandering. First thinking about how I’ve been trying to forget the clock/watch and not care about pace — mostly, I’ve been successful. Second thinking about Clocks and how I’ve collected some lines (from poems and essays) about the clock, or what Mary Oliver calls it:

The clock! That twelve-figured moon skull, that white spider belly! How serenely the hands move with their filigree pointers, and how steadily! Twelve hours, and twelve hours, and begin again! Eat, speak, sleep, cross a street, wash a dish! The clock is still ticking. All its vistas are just so broad–are regular. (Notice that word.) Every day, twelve little bins in which to order disorderly life, and even more disorderly though. The town’s clock cries out, and the face on every wrist hums or shines; the world keeps pace with itself. Another day is passing, a regular and ordinary day. (Notice that word also.)

Upstream/ Mary Oliver

So many places to go with the idea of the Clock. Mary Oliver’s ordinary versus extraordinary time. Routines, habits, delight in the daily, repeated events. The Moment between time and its tight ticks, or right before something has happened, or when time (and sense) are disrupted. The time of the day dream. Outside of time and its relentless march forward, towards Death, motivated by progress. Losing time, syncing up with time. What other ways to we have for measuring meaning that don’t involve time passing?


april 15/RUN

3.5 miles
trestle turn around + extra
29 degrees / feels like 20
wind: 15 mph

Cold and windy. Again. Ran north, thinking I would have the wind at my back. Nope, in my face. Difficult. As I got closer (but not too close) to the porta-potty under the lake street bridge, it suddenly opened and a runner ran out. He was ready to go, I guess. Also saw a woman ahead of me walking down the service road to the Minneapolis Rowing Club. Rowers on the river today? If there were, I didn’t see or hear them. Ran past the trestle and stopped at the recently replaced steps. Then took them — about 30 steps, I think — down for a closer look. The river, with the sun reflecting the blue sky, the brown trees, the gray stone, looked almost mauve to me. Mostly brown, with hints of blue and gray and dark pink — where/how was I seeing pink? Saw a few fluttering birds, some ice on the edge of the entrance to the trail.

Almost forgot, but was reminded by hearing a dog bark here at my desk: Running south from the trestle, across the road from the fancy houses on Edmund, I heard a dog barking a deep, low bark in one of the houses. Then another a few doors down dog joined in. The second bark sounded almost like the impersonation of a frantic bark, like an unhinged kid trying to sound like a dog. I wondered which it was — a real bark or the copy of a bark? I never did find out, even as I listened for several minutes.

before the run

Today’s dirt topic: dust. Dust as the great equalizer (we all come from dust and return to it); how we are dust and more than dust; dusting as a sacred chore; dust as a fine powder we inhale/absorb without noticing; toxic dust; environmental racism and who does/doesn’t have access to cleaner air

1 — Dust Poem/ Philip Jenks

The idea was.
At least in theory,
Dust was a bad thing.

There was a bowl
Of it. At another
Point in time
The conclusion
Was reached
That everything
Was of it.

No season, no
Nothing to measure
To measure against
So no love or hate.
Left us without no
Moorings or so my
Father told me

Vanity tables of it?
Isn’t that what a vanity
Table is for?
What happens to
As its failings accrue?

No mission but to be clean.
Of itself.
But existing (time)
And problems there –
The problem of now
We are back here.

See the whole dust problem’s
No measure.
All’s dust, check.
All’s virtuous, check.
So why not live it up then?
And thus, YOLO etc. etc.

{These fok whirr pretty smart.
Thing is, even in
The dust bowl, the
Idea, a very American
One was that something
Wasn’t dust.
I wasn’t.
The Bowl wasn’t.
The dust wasn’t.

Since Ecclesiastes,
Been trying this one on.
(how’s that working out for you?)
One needn’t be geologically
Or for that matter
Psychologically trained to
Begin unpacking the diffident
And sometimes strained
Relation the nation holds with
All that is vanity.

The poet’s explanation of the poem was helpful for me in trying to dig in:

And I don’t say of myself much, or “I” much. I sometimes even just do search replace and take out “I” and put in “it” to try to take myself out as some small measure of humility.

“What happens to
As its failings accrue?

No mission but to be clean.
Of itself.

Dust Poem in PoetryNow

The idea of an “I” — writing as an “I,” being an “I.” How to navigate between a recognition that we are both more than dust and only dust (“All go to the same place; all come from dust, and to dust all return.”–Eccleasiastes 3:20)? What is the “more” and how do we express/live it in ways that don’t deny the dust and in which our humility doesn’t erase our own existence? Is this too vague sounding? This question of being an “I” — having a unique voice, claiming a space — without doing violence to others (being too arrogant, taking too much) is one of the primary questions I struggle with in my life/writing. I tend to be too humble, too quick to erase or replace my “I”.

2 — Dusting/ Marilyn Nelson

Thank you for these tiny
particles of ocean salt,
pearl-necklace viruses,
winged protozoans:
for the infinite,
intricate shapes
of submicroscopic
living things.

For algae spores
and fungus spores,
bonded by vital
mutual genetic cooperation,
spreading their
inseparable lives
from equator to pole.

My hand, my arm,
make sweeping circles.
Dust climbs the ladder of light.
For this infernal, endless chore,
for these eternal seeds of rain:
Thank you. For dust.

I like how Nelson connects the chore of dusting — an everyday act of labor — with the deeper substance/s of life: tiny particles of ocean salt, algae and fungus spores, winged protozoas. For Nelson (and Jenks mentions it in his poem too), dust is more than dust, it is life, everything — and dusting is more than chore, but our access to that life.

Nelson’s reimagining dusting as sacred, reminds me of a poem I posted earlier this year, or late last year, Drift, which is about, among other things, rethinking the possible joy in shoveling snow.

3 — Dust/ Dorianne Laux

Someone spoke to me last night,
told me the truth. Just a few words,
but I recognized it.
I knew I should make myself get up,
write it down, but it was late,
and I was exhausted from working
all day in the garden, moving rocks.
Now, I remember only the flavor —
not like food, sweet or sharp.
More like a fine powder, like dust.
And I wasn’t elated or frightened,
but simply rapt, aware.
That’s how it is sometimes —
God comes to your window,
all bright light and black wings,
and you’re just too tired to open it.

Dust = fine powder we inhale, surrounding us but often unnoticed. For Laux, truth as dust

dust: fine, dry powder consisting of tiny particles of earth or waste matter lying on the ground or on surfaces or carried in the air.

4 — Household Dust and Our Health

My 100+ year old house in the middle of the city gathers a lot of dust. I don’t often think about what all that means, and what all I’m inhaling/absorbing inside. Yikes.

As sure as the sun rises, houses collect dust. It gathers on our knickknacks and dirties the carpets. More than just dirt, house dust is a mix of sloughed-off skin cells, hair, clothing fibers, bacteria, dust mites, bits of dead bugs, soil particles, pollen, and microscopic specks of plastic. It’s our detritus and, it turns out, has a lot to reveal about our lifestyle.

For one thing, dust is far from inert. Those shed hairs and old skin cells can soak up a constellation of contaminants originating from consumer products that we bring into our homes. Other environmental contaminants can be tracked indoors on the soles of our shoes. So in addition to fluffy hair and garden dirt, dust can hold a witch’s brew of persistent organic pollutants, metals, endocrine disruptors, and more.

Not only does dust hold a long memory of the contaminants introduced to a house, but it’s also a continual source of exposure for the residents. Dust gets resuspended when it’s disturbed and will recirculate throughout the house, picking up substances before returning once more to the floor. “Year over year, dust accumulates in the home,” says Miriam L. Diamond, an environmental chemist at the University of Toronto. Even after regular cleaning, it still accretes because homes are tightly sealed environments, and the dust gets entrenched in carpets and crevices. Dust from an old house may retain legacy pollutants such as DDT that were banned almost half a century ago, she says.

Tracing the chemistry of household dust

5 — Dust, Toxins and Environmental Racism

So, we’re breathing in a lot of bad shit inside our individual houses — toxic chemicals that may not have even be used for decades. What about in our neighborhoods? And which neighborhoods are subject to more toxic and why?

At MCEA we believe in seeking justice for communities that have been harmed by historic and ongoing toxic pollution and contamination. By design and neglect, this harm has affected Black, Indigenous and other communities of color to a much greater extent than white neighborhoods.  Whenever municipal development is proposed in these communities, a necessary first step is to make sure the voices of neighboring community members are engaged and respected. Key decisionmakers must invite community members to the table to work towards a goal of eliminating new, harmful sources of pollution in neighborhoods experiencing systemic pollution and poor air quality.

The East Phillips neighborhood of Minneapolis is one of these communities. This neighborhood continuously ranks as having some of the worst air quality in Minneapolis, and it is still being harmed by one of the most brazen and widespread urban polluters in Minnesota history.  An insecticide manufacturer at East 28th St. and Hiawatha Ave. polluted the neighborhood with arsenic from the 1930’s to the 1960’s, resulting in a massive cleanup of contaminated residential yards. 

The area surrounding this Superfund site is recognized in state law as being overburdened by pollution. State law requires that no permit shall be issued by the Minnesota Pollution Control Agency in the area “without analyzing and considering the cumulative levels and effects of past and current environmental pollution from all sources on the environment.” 

The City of Minneapolis has proposed building a new “Hiawatha Campus” adjacent to the former manufacturing site to house city offices and vehicles. 

Ensuring community voices are heard in East Phillips

Environmental racism: Although the proposed project is expected to reduce overall greenhouse gas emissions in city operations, this would come at the direct expense of local environmental quality by increasing pollutants from traffic near this site. As a neighborhood that is 83% Black, Indigenous, and people of color, the East Phillips community would be expected to bear the brunt of the impact for the “greater good,” which is an unacceptable trade-off. Racism has recently been declared a public health emergency in Minneapolis. Knowingly increasing the amount of pollution in a neighborhood primarily populated by Native American, Latinx, East African and Black communities will only exacerbate this problem and demonstrate the hypocrisy of the city’s words.

Poor governance to bring new toxicity to the ‘Arsenic Triangle’

during the run

Did I think about dust while I was running? I tried. At one point, I remember thinking about the invisibility of dust and how it’s in the air, as opposed to dirt on the ground or sandy muck in the water. I also thought about breathing and breath and how dust travels between lungs.

after the run

Here’s something to add to the list of invisible things around us all the time, and another possible reason why I have “sinus episodes” so often: dust mites

Dust mites are microscopic, insect-like pests that feed on dead human skin cells and thrive in warm, humid environments. They are not parasites that bite, sting or burrow into our bodies. Instead, people who are allergic to dust or dust mites are reacting to inhaling proteins in dust that comes from dust mite feces, urine or decaying bodies. Any inflammation of the nasal passages caused by dust mites is considered a dust allergy.

Dust and Dust Mites

dec 13/RUN

5.1 miles
minnehaha falls and back
29 degrees
65% snow-covered

Ran to the falls and discovered that they were still plowing the trails around the park this morning. Had to stop and walk a few times in the deepest, most uneven parts. Sunny, barely any wind. Soon into the run, I was warm, then hot.

10 Things I Noticed

  1. From a distance and through the tree trunks, the river was burning white
  2. Off to the side and just below, the river was flat and off-white with splotches of light brownish-green or greenish-brown
  3. I could hear the sound of rushing water at the falls, but all I could see was several big ice columns
  4. Near the longfellow fountain (which never has water, not even in the summer, but does have parts of “The Song of Hiawatha” etched on the low wall curving around it), at the edge of the bluff, the view to the falls was as clear as I’ve ever seen it. No leaves or stray branches getting in the way
  5. Childhood having fun at their school playground, yelling and laughing
  6. Several different wedges of geese honking
  7. Packed down snow from feet, skis, sleds criss-crossing the big open part of the park above the fall, near John Stevens House
  8. The elegant, pleased (it looked like it was smiling) curve of the retaining wall on the Winchell Trail near 42nd street
  9. Mr. Morning! and Santa Claus
  10. 2 older walkers on the trail, one of them pushing their walker through the snow

I’m still working on my haunting poems. I’m hoping to do one specifically about bells and clocks. As I ran I thought about rhythms and beats: the steady beat of my feet on the trail, the triple counts I was chanting (strawberry/blueberry/raspberry/river road/trestle bridge), and the lone geese honking repeatedly. I tried to match my feet to its honks, which didn’t work. Then I tried to count the beats between each honk. It was not steady. I wondered, why do geese honk when they’re flying? I looked it up: to keep the flock together and coordinated in the V. Visibility is low so the honks let them know where each other are. Are all the honks the same, or does each goose have a slightly different one? Why aren’t they in a steady rhythm — or, are they, and I just don’t hear it?

Here’s some more information about the Canadian Geese and their 13 different vocalizations: Canada Goose Vocalizations

Almost every time I hear a geese honk, I think of Mary Oliver’s geese and their harsh and exciting cries, but there are other wild geese poems. Here’s one I don’t think I’ve encountered before:

Something Told the Wild Geese / Rachel Field

Something told the wild geese
It was time to go.
Though the fields lay golden
Something whispered,—‘Snow.’
Leaves were green and stirring,
Berries, luster-glossed,
But beneath warm feathers
Something cautioned,—‘Frost.’
All the sagging orchards
Steamed with amber spice,
But each wild breast stiffened
At remembered ice.
Something told the wild geese
It was time to fly,—
Summer sun was on their wings,
Winter in their cry.

My understanding is that geese fly south before it gets too cold and before the snow flies, just like the poem states. So why were there so many geese up in the sky today? Is it a result of the climate crisis, or something else? I found a National Geographic article but it’s behind a paywall. The little bit of it I could read was about how geese migration is complicated; geese are finding suburbs a pleasing place to stay year round. Another article I found mentioned that in the 1950s, fearing their extinction, wildlife agencies in some states introduced new flocks that were raised in captivity and never learned to migrate. They are still flocks of wild migrating geese, but also lots of “not wild” geese. Looks like this question has many different answers.

dec 8/RUN

4.1 miles
river road, north/south
14 degrees
99% snow-covered

Fully boosted! Scott, FWA, and I got our booster shots 2 weeks ago today. Very relieved. I wish RJP could get hers too.

A little warmer today with lots of sun and hardly any wind. The only part of me that was cold this morning were my fingers and only for the first mile. The path was covered mostly in smooth packed snow. Not slippery but still requiring more effort than on dry pavement to lift my feet off the ground. Was able to greet Dave the Daily Walker and a few other walkers that I might have seen before but I can’t remember. The floodplain forest below the tunnel of trees was quiet and wintery and beautiful. Running north, I was distracted by a runner ahead of me, traveling at my same pace. He was far enough ahead that he probably didn’t notice I was there. He was wearing black running tights, black shorts, and a bright blue jacket with some writing or images on the back that I couldn’t identify. The only time I remember noticing the river was when I was high up on edmund at my favorite viewing spot where the sun, when it’s out, makes the small sliver of river peeking through the trees glow white hot. Today, the river was covered with snow and looked flat and dull. No sparkle or glow.

A few words related to my restless poem popped into my head: unsatisfied/not or never satisfied, unsettled, collecting, gathering, assembling

Ilya Kaminsky is in charge of the poem-a-day at poets.org this month and he’s doing a great job. Here’s the one for today from another poet I admire:

Big Clock/ Li-Young Lee – 1957-

When the big clock at the train station stopped,
the leaves kept falling,
the trains kept running,
my mother’s hair kept growing longer and blacker,
and my father’s body kept filling up with time.

I can’t see the year on the station’s calendar.
We slept under the stopped hands of the clock
until morning, when a man entered carrying a ladder.
He climbed up to the clock’s face and opened it with a key.
No one but he knew what he saw.

Below him, the mortal faces went on passing
toward all compass points.
People went on crossing borders,
buying tickets in one time zone and setting foot in another.
Crossing thresholds: sleep to waking and back,
waiting room to moving train and back,
war zone to safe zone and back.

Crossing between gain and loss:
learning new words for the world and the things in it.
Forgetting old words for the heart and the things in it.
And collecting words in a different language
for those three primary colors:
staying, leaving, and returning.

And only the man at the top of the ladder
understood what he saw behind the face
which was neither smiling nor frowning.

And my father’s body went on filling up with death
until it reached the highest etched mark
of his eyes and spilled into mine.
And my mother’s hair goes on
never reaching the earth.

There is so much I love about this poem, for right now I’ll pick: “And collecting words in a different language/for those three primary colors:/staying, leaving, and returning.”

oct 28/RUN

4.5 miles
John Stevens House loop
46 degrees
light rain / humidity: 94%

The forecast predicted light rain all day. Decided I wouldn’t mind running in the rain. Wore my vest, which is waterproof or at least water resistant, a baseball cap, bright pink headband, bright yellow shirt, tights, shorts, gloves, and my older running shoes. Ran south to the falls then around the John Stevens House. Ran north until I reached the entrance to the Winchell Trail then took that the rest of the way. Not much wind, not too cold, not too crowded.

10 Things I Noticed

  1. A glowing tree at the falls that, at first, looked all orange, but slowly seemed almost pink: a mix of some red, yellow, green leaves
  2. A rush of noise — leaves blowing in the wind? No. The falls, rushing in the light rain
  3. Water coming out of the sewer at 42nd street — not rushing or gushing or roaring but some other sound that indicates an abundance of flowing water
  4. Running near the river, noticing how the water closer to me was a blue so pale it looked light gray, the water closer to the st. paul shore was deep and dark, reflecting the evergreens
  5. The spot on the Winchell Trail right climbing up to 42nd no longer concealed by leaves, lined with tall, slender tree trunks and a clear view of river gorge st. paul
  6. A few honks, some kids yelling out, a line-up of cars: the beginning of the day at a local elementary school across the grassy boulevard
  7. A very short person walking around Minnehaha Regional Park. Wearing jeans and a dark sweatshirt with the hood up. Walking with a hunched gait
  8. A runner (or walker?) stopped beside the path, taking off a bright pink jacket and tying it around their waist
  9. A strange scraping metallic sound up ahead of me on the Winchell Trail. Then running by a man hunched over a fence post near the curved retaining wall with a hacksaw, sawing. After I passed, he stopped
  10. Squirrel after squirrel darting across the path and into the woods, never circling back to run in front of me

Earlier this morning, right after I woke up and made my coffee, I memorized the second half of one of my favorite Halloween poems: A Rhyme for Halloween. Here’s the bit I memorized:

Our clock is blind, our clock is dumb.
Its hands are broken, its fingers numb.
No time for the martyr of our fair town
Who wasn’t a witch because she could drown.

Now the dogs of the cemetery are starting to bark
At the vision of her bobbing up through the dark.
When she opens her mouth to gasp for air,
A moth flies out and lands in her hair.

The apples are thumping, winter is coming.
The lips of the pumpkin soon will be humming.
By the caw of the crow on the first of the year,
Something will die, something appear.

I recited it in my head throughout my run. I love this poem and its haunting feel (tone? mood?). As I recited the lines, I struggled with the second verse — was it bobbing or bob? gasping or gasp? Why was it difficult for me? I can’t remember now. I like stumbling with the lines; it gives me the chance to reflect on word choice and rhythm. And it helps me to think about what makes some poetry sing, some fall flat.

Favorite lines/images: the blind, dumb clock; the martyr who wasn’t a witch because she could drown; the vision of her bobbing through the dark and gasping for air; the apples thumping — I imagine them falling on the ground; the lips of the pumpkin humming; something dying and something appearing.

Why is this haunting? One obvious reason: it takes up Halloween (spooky) images. But also: the rhymes. They aren’t sing-song-y. Instead, they echo. The rhyming reminds me of part of Edgar Allen Poe’s The Bells:

monody: a poem lamenting a person’s death
paean: a song of praise or triumph
rune: letters from an alphabet that was used by people in Northern Europe in former times. They were carved on wood or stone and were believed to have magical powers (source).
knell: the sound of a bell, especially when rung solemnly for a death or funeral

IV.

          Hear the tolling of the bells—
                 Iron bells!
What a world of solemn thought their monody compels!
        In the silence of the night,
        How we shiver with affright
  At the melancholy menace of their tone!
        For every sound that floats
        From the rust within their throats
                 Is a groan.
        And the people—ah, the people—
       They that dwell up in the steeple,
                 All alone,
        And who tolling, tolling, tolling,
          In that muffled monotone,
         Feel a glory in so rolling
          On the human heart a stone—
     They are neither man nor woman—
     They are neither brute nor human—
              They are Ghouls:
        And their king it is who tolls;
        And he rolls, rolls, rolls,
                    Rolls
             A pæan from the bells!
          And his merry bosom swells
             With the pæan of the bells!
          And he dances, and he yells;
          Keeping time, time, time,
          In a sort of Runic rhyme,
             To the pæan of the bells—
               Of the bells:
          Keeping time, time, time,
          In a sort of Runic rhyme,
            To the throbbing of the bells—
          Of the bells, bells, bells—
            To the sobbing of the bells;
          Keeping time, time, time,
            As he knells, knells, knells,
          In a happy Runic rhyme,
            To the rolling of the bells—
          Of the bells, bells, bells—
            To the tolling of the bells,
      Of the bells, bells, bells, bells—
              Bells, bells, bells—
  To the moaning and the groaning of the bells.

Reading through this again, I’m thinking about how the bells in this verse are not clock bells, tracking the precise, steady passing of time (which reminds me of the lines about the blind, dumb clocks and no time for the martyr). These bells toll, groan, moan, roll, throb, sob, knell. The sound of the bells floats from rusty throats, is muffled, melancholy. When it is mentioned that they keep time, it is not the time of life, but of death.

oct 14/RUN

3.5 miles
trestle turn around + extra
49 degrees
19 mph gusts

Brrrr. Colder and windier today. Wore tights and 2 shirts. The leaves continue to change. Today: bright brassy yellow with hints of green and brown. Not mustard or gold — at least to me. So intense and delightful that I exclaimed “wow!” as I reached the edge of the welcoming oaks. Down in the tunnel of trees more oranges and yellows. Still more leaves in the trees than on the ground, but if the wind keeps blowing like it did yesterday and it is today, that will change. By next week, will all the leaves have fallen? I felt strong and relaxed, running at an easy pace. Then a runner slowly approached from behind, not passing me fast enough, running alongside of me. I sped up to avoid them and knew it was a mistake almost immediately. I was running too fast. Ran for a few more minutes at that pace and then stopped to let the other runner pass. The lesson to learn: always slow down or stop to let another runner go by. Do not speed up to avoid them. This is a reminder of a lesson I should have learned several months ago with the group of kids on bikes under the lake street bridge (see may 28, 2021).

10 Things I Noticed

  1. A bright orange tree on the grass between edmund and the river road. Difficult to quite remember, but I think it wasn’t completely orange, maybe giving the idea of orange or orange-tinted leaves on an otherwise green leafed tree
  2. The man in black who was not in black at all but still has the very long legs. I think I might rename him “daddy long legs” — is that bad?
  3. The trees above the ravine and the slick slats and sewer pipe and concrete ledge were bright yellow and red
  4. The wind was blowing in many different directions, never at my back
  5. The jingling of my house key in the small zippered pocket in the front of my orange running shirt
  6. A roller skier without his poles — no clicking or clacking, lots of awkward arm movements
  7. No stones stacked on the ancient boulder
  8. Hardly any leaves left on the welcoming oaks
  9. An approaching runner avoiding me by running on the other side of a tree and through the grass
  10. 3 sets of steps (all inviting me to take them): the old, uneven stone steps after the tunnel of trees; the big stone slabbed steps before the trestle; the recently replaced wooden steps after the trestle. All leading to the Winchell Trail

Ran north listening to the wind, south listening to a playlist with Miley Cyrus and 2 songs by Silk Sonic — nice! At the end, above the ravine, I thought about how I rely less on a watch, and much more on the weather and the trees to keep track of time. Much more enjoyable to think in seasons or the progress of the leaves than minutes, hours, days.

Earlier today I was thinking about pace — and only slightly in relation to running pace, more about pacing and restlessness and ghosts that haunt the path. Pace and pacing, like watches or clocks, impose limits and boundaries: a running pace uses seconds and minutes per mile (or km) and pacing involves walking back and forth in a small or confined space, retracing your steps again and again until you rub the grass away and reach dirt, or wear the carpet bare. What to do with that information? I’m not quite sure…yet.

I found this poem on twitter yesterday. Even though it doesn’t deal with my theme (ghosts, haunting, haunts), I wanted to post it and tag it with water so I would have it for letter. Such a wonderful poem and poet!

Portrait of a Figure Near Water/ Jane Kenyon

Rebuked, she turned and ran
uphill to the barn. Anger, the inner
arsonist, held a match to her brain.
She observed her life: against her will
it survived the unwavering flame.

The barn was empty of animals.
Only a swallow tilted
near the beams, and bats
hung from the rafters
the roof sagged between.

Her breath became steady
where, years past, the farmer cooled
the big tin amphoræ of milk.
The stone trough was still
filled with water: she watched it
and received its calm.

So it is when we retreat in anger:
we think we burn alone
and there is no balm.
Then water enters, though it makes
no sound.

favorite bits: anger, the inner arsonist; the bats and the rafters the roof sagged between; the line break for “the stone trough was still/filled with water”; and water as the soundless balm for our burning alone.

random sighting/thought: Saw a sign in front of a house that read:

We love our rocks!
Please do not
take our rocks.

I thought about the importance of line breaks here. Maybe it’s just my faulty vision, but when I read this sign I am just as (or maybe more) likely to read the line “take our rocks” on its own and think they want me to take their rocks. How does the meaning of the sign change with different breaks:

Please do
not take
our rocks.

Please do not take
our rocks.

Please
do not take
our rocks.

What if you mix up the order?

Our rocks
do not take
please

Our rocks do
please take not

rocks? please.
ours do not take

do ours not please? (rock’s take)

take rocks — ours
please — (do not)

Too much useless fun!

addendum: I told STA about my fun wordplay, and he offered this one:

Our rocks please.
Do not take!

another addendum: The sign actually started: Rocks rock!

august 16/RUNSWIM

run: 10k
franklin loop + extra
67 degrees

A 10k. I needed to check back through my logs to find out the last time I ran this far. November 4, 2019. Wow. I’ve still been running a lot, just more frequently and less distance. It felt pretty good until the very end. STA and I are signed up to run the 10 mile in October. Will it even happen? Not sure.

It was sunny, not too windy, and mostly not too hot. In the shade it was fine. Ran north on the river road trail until crossing at franklin. Heard the rowers down on the river. Two coxswains, one male, one female. Their voices echoing through the bullhorn. With the echoing, it sounded more serious than a practice. A race? Or was it only how the sound travels differently on the east side, as opposed to the west side of the river. Would more open space, less trees in the gorge, change how the voices traveled?

And, I saw someone riding a unicycle–first time ever while running, I think.

Thought about what a wonderful time I had with my college friends, how great it was to be challenged and stimulated and reminded of the importance of friends and community. Also thought about some of our discussions about how people come together in crises–neighbors helping neighbors when intense storms do severe damage to houses, buildings, towns. We need that sense of community AND we also need to do what we can to prevent these powerful storms/ erratic weather patterns from happening more frequently. Why do so many of us seem unwilling to work on the prevention, on radically transforming how we live, and how we continue to take without (enough) concern for its impact on the earth and all of its inhabitants?

The Clock! That 12-figured moon skull!

Before heading out for my run this morning, I learned about the debut poetry collection from Adam O. Davis: Index of Haunted Houses. Amazing! Found these epigraphs at the beginning and started thinking about other things I had read about clocks and time:

Think of this: When they present you with a watch they are gifting you with a tiny flowering hell, a wreath of roses, a dungeon of air…. They aren’t giving you a watch, you are the gift, they’re giving you yourself for the watch’s birthday.

Julio Cortázar

Years, like any other measure of time, offer mankind the promise of isolated events, of an origin and terminus to history, when in reality there is no isolating time as time has no origin or terminus. 1980 never existed, or, if it did, it has always been 1980.

Muriel Échecs

After all, the chief business of the American people is business. They are profoundly concerned with producing, buying, selling, investing, and prospering in the world. I am strongly of the opinion that the great majority of people will always find these the moving impulses of life.

Calvin Coolidge*

*After writing this, I listened to an excellent podcast–The Scottish Poetry Library--with Adam O. Davis and the host mentioned what Dorothy Parker said about Coolidge after he died: “How can they tell?” Ha!

Here’s something I read just yesterday from Love of Lakes/ Darby Nelson

We talk of time as the river flowing. I never questioned the implications of that metaphor until I was struck by the words of Professor Dave Edmunds, Native American, on a display in the Indian-Western Art Museum in Indianapolis. Edmunds wrote, ‘Time as a river is a more Euro-American concept of time, with each event happening and passing on like a river flows downstream. Time as a pond is a more Native American concept of time, with everything happening on the same surface, in the same area—and each even is a ripple on the surface.’

If I think of time as a river, I predispose myself to think linearly, to see events as unconnected, where a tree branch falling into the river at noon is swept away by current to remain eternally separated in time and space from the butterfly that falls in an hour later and thrashes about seeking floating refuge.

But if I think of time as a lake, I see ripples set in motions by one even touching an entire shore and then, when reflected back toward the middle, meeting ripples from other events, each changing the other in their passing. I think of connectedness, or relationships, and interacting events that matter greatly to lakes.

For Love of Lakes/ Darby Nelson

I’m also thinking of Mary Oliver and her reoccurring clocks as representing the restrictions of ordinary time.

And there is the attentive, social self. This is the smiler and the doorkeeper. This is the portion that winds the clock, that steers through the dailiness of life, that keeps in mind appointments that must be made, and then met. It is fettered to a thousand notions of obligation. It moves across the hours of the day as though the movement itself were the whole task. Whether it gathers as it goes some branch of wisdom or delight, or nothing at all, is a matter with which it is hardly concerned. What this self hears night and day, what it loves beyond all other songs, is the endless springing forward of the clock, those measures strict and vivacious, and full of certainty.

The clock! That twelve-figured moon skull, that white spider belly! How serenely the hands move with their filigree pointers, and how steadily! Eat, speak, sleep, cross a street, wash a dish! The clock is still ticking. All its vistas are just so broad–are regular. (Notice that word.) Every day, twelve little bins in which to order disorderly life, and even more disorderly thought. The town’s clock cries out, and the face on every wrist hums or shines’ the world keeps pace with itself. Another day is passing, a regular and ordinary day. (Notice that world also.)

“Of Power and Time” in Upstream/ Mary Oliver

from a log entry on april 7, 2021

I’m thinking about words like: inefficient, clockwork, pace (as in, “keep up the” or running pace or the hectic pace of modern life), mechanization, industrialization, useless, instrumental, accessible, smooth, easy, fast, relevant, order, discipline, attention economy, rest, restlessness, sleep, internal clocks, spending time vs. passing it, paying or giving attention, eyeballs on the page, obscure, unnoticed, unnoticing.

And that the battery in my apple watch is dying and how, even though I depended on it so much before, I’m considering not replacing it and not wearing a watch. Not keeping track of my pace.

And, I’m thinking about these beautiful lines from Alice Oswald’s “Evaporations”:

In their lunch hour
I saw the shop-workers get into water
They put their watches on the stones and slithered
frightened
Into the tight-fitting river
And shook out cuffs of splash
And swam wide strokes towards the trees
And after a while swam back
With rigid cormorant smiles
Shocked I suppose from taking on
Something impossible to think through
Something old and obsessive like the centre of a rose
And for that reason they quickly turned
And struggled out again and retrieved their watches
Stooped on the grass-line hurrying now
They began to laugh and from their meaty backs
A million crackling things
Burst into flight which was either water
Or the hour itself ascending.

swim: 2.1 miles / 5 loops
cedar lake open swim
84 degrees / windy

Another great swim at cedar lake. The water was very choppy with lots of swells. It was windy. The waves didn’t bother me at all, but my legs were sore from my 10K earlier in the day. My left hip hurt. Swam on the edge of the course to avoid other people–so I wouldn’t have to worry about running into them. Almost ran into a lifeguard on a kayak a few times. I think they might have been trying to get me to swim closer to the buoys. I suppose I was fairly far from them, but I wanted to use the break in the trees as my guide. In years past, being nudged by the lifeguard might have bothered me, making me feel like I was doing something wrong or failing, but not this year. I’m happy to not be so hard on myself or to always need to be doing it the proper/right way.

For much of the loop I could only breathe on one side–when I breathed on the other side, I got a mouth full of water from a wave. I mostly breathed every six strokes. No difficulty breathing, no shortness of breath. I like holding my breath for longer.

I didn’t look at the sky much. It was hard to see in the midst of all the waves. Not sure if there were any planes or birds. Hard to notice anything else but the water and others’ elbows and bright caps and the orange buoys — which I could not really see.

My challenge for the last 3 swims (only 3 left at cedar): to crack the code for the stretch between the start of the loop to the far beach. For some reason, no matter how much I try–stopping briefly at the start to sight the distant orange buoy, swimming farther out and away from the other side–I always end up swimming too close to others swimming the other way. I can’t figure out if there’s a current pushing me that way or something else that makes me lose my wider trajectory. I can barely see the orange buoy, so I’m relying on other things. So far, I haven’t found a helpful landmark on the other shore. I want to figure this out before I’m done for the season.

Still in the month of exploring different notions of love in poetry. Here’s a poem by Paul Tran that I think fits:

Bioluminescence/ Paul Tran

There’s a dark so deep beneath the sea the creatures beget their own
light. This feat, this fact of adaptation, I could say, is beautiful

though the creatures are hideous. Lanternfish. Hatchetfish. Viperfish.
I, not unlike them, forfeited beauty to glimpse the world hidden

by eternal darkness. I subsisted on falling matter, unaware
from where or why matter fell, and on weaker creatures beguiled

by my luminosity. My hideous face opening, suddenly, to take them
into a darkness darker and more eternal than this underworld

underwater. I swam and swam toward nowhere and nothing.
I, after so much isolation, so much indifference, kept going

even if going meant only waiting, hovering in place. So far below, so far
away from the rest of life, the terrestrial made possible by and thereby

dependent upon light, I did what I had to do. I stalked. I killed.
I wanted to feel in my body my body at work, working to stay

alive. I swam. I kept going. I waited. I found myself without meaning
to, without contriving meaning at the time, in time, in the company

of creatures who, hideous like me, had to be their own illumination.
Their own god. Their own genesis. Often we feuded. Often we fused

like anglerfish. Blood to blood. Desire to desire. We were wild. Bewildered.
Beautiful in our wilderness and wildness. In the most extreme conditions

we proved that life can exist. I exist. I am my life, I thought, approaching
at last the bottom of the sea. It wasn’t the bottom. It wasn’t the sea.

Wow! You can listen to Tran read this poem on The New Yorker site. I love their dramatic reading–so powerful and delightful and wonderful. I understand the poem to be about finding/forging/fighting for a love of self. I love their lines about living without light, about finding life beyond the life that needs light to be possible. My relationship to light is changing as my eyesight deteriorates. Earlier on, sunlight could be too bright–it would hurt my eyes. Now that I’ve lost most of my cone cells, it doesn’t bother me as much. Nothing is that bright. I have a low vision lamp that helps me to read more easily. When light isn’t bright enough, the letters become too fuzzy. Some day, even the brightest bulb won’t matter. I must learn to live with less light. It will never be as dark as the deep sea in the poem (at least, most likely not), but it will be faded and not much help. No more shedding light on a situation for me.

july 1/BIKESWIMBIKE

bike: 8.6 miles
lake nokomis and back
85 degrees

Biked with STA to the lake for open swim. Not too difficult. Again, it helped that I didn’t need to pass anyone and it wasn’t that crowded. After the swim, leaving the lake, it was a little crazier. Lots of walkers on the bike path, feral kids zig-zagging on the path, a stalled surrey stuck in the middle of the trail.

swim: 3 miles/ 3 loops
lake nokomis open swim
85 degrees
partly sunny/slightly choppy

Wow, this was the most difficult open swim yet. I didn’t mind the swells near the big beach, but the placement of the green buoys so far from the beach, the bright sun draining them of color and shape, and the sneaky sailboats impersonating them, it was very hard to sight anything. When I stopped a few times to get my bearings, I still couldn’t see anything. Luckily, I never got off course too much and I kept swimming for 3 loops. After the swim, I met up with STA for a beer at Sandcastle. Very nice. It really felt like covid had never happened, which was mostly good. Saw lots of cute dogs and sailing boats. A beautiful night to be out in the world instead of holed up in the house.

july’s theme

It’s the first day of July, which means a new theme. Last month was water and stone. Up until a few hours ago, I was convinced that this month’s theme would be water, especially as it relates to my swimming. But I started thinking about open swim and then wrote in my almost finished Plague Notebook, Vol 8:

not wild or natural…not a wild swim, but an open swim…not pure adventure in unchartered territory but not really urban or tightly planned either…just off the beaten path…how do I describe where and what this is—this = being = running or walking or swimming or breathing outside?

And then, after walking Delia the dog:

Thinking about the “wild” and my neighborhood. Not wild, but messy, unkempt, order still there (or the trace of order) but yards/flowers left alone to roam or wander. Not rigid, tight control or the sharpness of a trimmed, edged lawn, approximate, not tidy but not chaos, a bit disheveled, off-track but cared for, attended to, intentional

I started thinking about centers and edges, which led me back to Emily Dickinson and her circumference, but also to Mary Oliver, and her devotion to things having a place in the world, in the family of things. And now I am wondering what to do with all of these ideas, what to spend time with this month? I think all of this wandering and wondering has to do with making sense of the place I’m recognizing (and creating) for myself, swimming in a swamp that was made into a lake 100 years ago and is carefully managed by a park system. Swimming across a lake in designated areas, with hundreds of others, watched over by lifeguards. It’s not the ocean or a remote lake or a secret swimming hole, but it’s also not a safe, chlorinated, regimented pool. There are bacteria and big fish and weeds that want to drag you to the bottom.

I’m listening to the latest Between the Covers podcast with Arthur Sze. Wow, he’s amazing. He read this poem midway through the episode.

The Unnamed River/ Arthur Sze

1

Is it in the anthracite face of a coal miner,
crystallized in the veins and lungs of a steel
worker, pulverized in the grimy hands of a railroad engineer?
Is it in a child naming a star, coconuts washing
ashore, dormant in a volcano along the Rio Grande?

You can travel the four thousand miles of the Nile
to its source and never find it.
You can climb the five highest peaks of the Himalayas
and never recognize it.
You can gaze though the largest telescope
and never see it.

But it’s in the capillaries of your lungs.
It’s in the space as you slice open a lemon.
It’s in a corpse burning on the Ganges,
in rain splashing on banana leaves.

Perhaps you have to know you are about to die
to hunger for it. Perhaps you have to go
alone in the jungle armed with a spear
to truly see it. Perhaps you have to
have pneumonia to sense its crush.

But it’s also in the scissor hands of a clock.
It’s in the precessing motion of a top
when a torque makes the axis of rotation describe a cone:
and the cone spinning on a point gathers
past, present, future.

2

In a crude theory of perception, the apple you
see is supposed to be a copy of the actual apple,
but who can step out of his body to compare the two?
Who can step out of his life and feel
the Milky Way flow out of his hands?

An unpicked apple dies on a branch:
that is all we know of it.
It turns black and hard, a corpse on the Ganges.
Then go ahead and map out three thousand mile of the Yantze;
walk each inch, feel its surge and
flow as you feel the surge and flow in your own body.

And the spinning cone of a precessing top
is a form of existence that gathers and spins death and life into one.
It is in the duration of words, but beyond words—
river river river, river river.
The coal miner may not know he has it.
The steel worker may not know he has it.
The railroad engineer may not know he has it.
But it is there. It is in the smell
of an avocado blossom, and in the true passion of a kiss.

june 26/RUN

4 miles
marshall loop
71 degrees/ dew point: 64

It felt hot and humid this morning. Overcast. Ran up the marshall hill without stopping until I reached the bridge steps. It was hard, but I didn’t stop. A good mental victory. Heard some rowers on the river and the coxswain directing them. Crossing back over the bridge, I stopped to read a few small pink signs affixed to the bridge. One was about hope making anything possible, another about how one road block shouldn’t stop you. The other day, as STA and I crossed the bridge in the car, we noticed that the entire bridge was covered in these signs, now only these 2 are left. STA thinks the wind might have blown them off.

Near the start of my run, descending the hill and entering the tunnel of trees, it was a dark, impenetrable green, made darker by my vision. It looked like I was running into a lightless smudge. Very cool–not scary at all. Once I was in the dark green, there was light and trees and thick air. Noticed the 4 fences I’ve written about and the stone wall framed by trees, remembering the time I saw someone perched in one of these trees–hiding? spying?

Now, after the run, I feel sore. I often feel sore in the summer. Not injury-sore but doing-more-exercise-especially-swimming-sore.

Erosion/ Linda Pastan

We are slowly
undermined. Grain
by grain . . .
inch by inch . . .
slippage.
It happens as we watch.
The waves move their long row
of scythes over the beach.

It happens as we sleep,
the way the clock’s hands
move continuously
just out of sight,
but more like an hourglass
than a clock,
for here sand
is running out.

We wake to water.
Implacably lovely
is this view
though it will swallow
us whole, soon
there will be nothing left but view.

We have tried a seawall.
We have tried prayer.
We have planted grasses
on the bank, small tentacles,
hooks of green that catch
on nothing. For the wind
does its work, the water
does its use work.

One day the sea will simply
take us. The children
press their faces to the glass
as if the windows were portholes,
and the house fills
with animals: two dogs,
a bird, cats–we are becoming
an ark already.

The guess will follow
our wake.
We are made of water anyway,
I can field it in the yielding
of your flesh, though sometimes
I think that you are sand,
moving slowly, slowly
from under me.