Tag: vision

sept 26/RUN

10k
flats and back
59 degrees

Warmer than I thought this morning. Lots of sweat. Sun. Shadows. Sparkling water. Ran past the road closed on Oct 6 (that’s for the marathon!) and smiled. Not long now. I felt fine. My big toe on my right foot stung a little. My right foot is a bit of a mess: an in-grown big toenail, a blackish-purplish second toe, another possible in-grown toenail on the fourth toe. I think it will all be fine — nothing’s infected and it doesn’t hurt that much.

10 Things

  1. a coxswain’s voice, calling out instructions
  2. a motorboat’s wake, leaving soft ripples on the surface of the river, moving upstream and contrasting with the motion of the water heading downstream
  3. ahead of me, under the 1-94 bridge, the river sparking silver
  4. water seeping out of the limestone below the U of M’s west bank, wanting to be a waterfall
  5. my shadow, running ahead of me: sharp and solid
  6. several of the benches were occupied — one person at each
  7. a few more red leaves — a bright, fiery red
  8. the rhythmic snap of a fast runner’s striking feet
  9. cracks in the asphalt just north of the trestle — they just patched these in late spring and the entire stretch was redone 2 or 3 years ago — in 10 years will you even able to run on this section, or will it have slid into the gorge?
  10. someone left the lid of the trashcan below the lake street bridge open — wow, it stinks!

Here’s a poem I read yesterday that I liked to add to my collection of shadow poems — I might also add it to my growing group of moment poems too:

On a Walk/ Heather Christle

My child is upset that they cannot jump over their shadow.
They want me to help them. They want me to teach them
how it’s done. The best I can do is an invitation

to jump over each other’s shadows instead. This satisfies them
for a moment and then the moment is gone. In sunlight
my shadow loves to give me a little dose of sorrow,

the beams having traveled so far only for the lump of me
to get between them and the ground. They came so close.
If I were the earth I would resent me too. My child

has gone into the next moment. I have to catch up. They say
they are riding a horse. They point and it drags them away.

I read this wonderful quote from Hanif Abdurraqib the other day in one of my favorite former grad student’s newsletter. It’s about the ekphrasis form and is helpful for thinking about my “How to See” project:

Many of us live in an ekphrasis mindset. We are often executing ekphrasis storytelling…creating a story based off of that witnessing. I don’t ever want to move beyond that desire to say, I saw something and I know that you were not there to see it. But I can build the world wherein you felt like you have witnessed it alongside me.

via rachael anne jolie

I want to build a world about how I see with my dead-coned eyes in my poems, partly to feel less alone and isolated and partly to invite people to think more what it means to see (and to not see).

Last night, Scott and I were watching “Escape to the Country” and one of the escapees (Carol from Hertfordshire) was registered blind. She sometimes used a white cane and had some help from her husband in navigating, but she could make eye contact and see some of what was going on. When the host (Jules) asked her to explain her vision, she said she could see about 20% of what he could, enough to get a sense of the space, but not clearly. I appreciated that Jules had asked her to explain her vision (and impressed with the positive, non-tragic way they depicted her throughout the episode), but I wanted more. I wished she (and/or the show) had had an ekphrasis mindset and offered additional details about what seeing/not seeing is for her. The host, Jules, suggests, “Fundamentally, understanding how she sees the world is going to be crucial to finding properties that will absolutely deliver.” Even a sentence or two more might have helped in that understanding.

I wondered what someone who had never thought about the process of seeing or the spectrum of no-sight to full-sight made of her description and how she (fairly) easily/”naturally” moved through the world. After my run, I decided to google the episode and see if I could find more information about the woman, like what her condition was, etc. I was disappointed to discover headlines describing her blindness as “heartbreaking” or that she told of it, “with tears in her eyes.” That’s not how I perceived it. Admittedly, I can’t see faces clearly enough to grasp slight facial expressions, but this woman did not seem heartbroken and if she had any tears in her eyes, it was because she was looking into the sun. This was not a tragic episode; she and her husband were excited to move. These headlines seem to be typical examples of writers projecting their own fears and negative understandings of blindness onto blind people (or people with low vision, or people who see differently). Blind = tragic = heartbreaking = pity.

Scott and I watched the brief, 10 second clip that this “heartbreaking” description is based on, and he agreed that she wasn’t upset or crying. Her description was neutral and matter-of-fact. Sigh.

At the beginning of my run, I thought more about the ekphrastic mindset and asked myself, what is art? I didn’t come up with an answer — a task for another run!

one more thing to add: Talking with RJP about my various projects, she introduced me to a new phrase for describing the dirt trails that walkers/runners make in the grass: desire paths. That should be a title for one of my gorge poems, for sure!

aug 29/RUN

9 miles
lake nokomis and back
75 degrees / dew point: 72

I thought it was supposed to be cooling down this week. I was wrong. This run was tough and I was slow. Still, I pushed through and did it. 72 is a high dew point — in the miserable and “adjust your expectations” range. I tried to remember that as I ran and then stopped to walk. Mostly I did and was kind to myself.

While the run overall was difficult, it wasn’t all struggle. Running up the hill between Lake Hiawatha and Lake Nokomis, a walker called out, looking good! There were wild turkeys along the side of the road. The buoys are still up at the main beach. There was more shade than sun. The shadows were dancing in the wind. The river water was sparkling, the creek water was gently moving, the lake water was softly lapping the shore.

Recently, I heard a suggestion for keeping a steady rhythm on a long run: listen to a metronome. I decided to try it, at 175 bpm. Pretty cool. My phone app metronome was set for even beats not a time signature (like a heavier downbeat) so I heard steady, unstressed clicks. It was strange and fun when I lined up my feet with the beats so it sounded like my foot was making the noise as it struck the ground. It reminded me of the scene in Indiana Jones and the Last Crusade when the librarian is stamping the books at the same time Jones is stamping the floor with a heavy post. As his ink stamp hits the page, a loud thud happens, and he wonders (while staring strangely at the stamp) how he could be making such a noise.

I wonder what might happen if I did set the metronome for different rhythms, like 4/4 or 3/4 or 6/8?!

anne carson

The other day I discovered an essay by Anne Carson about her experiences with Parkinson’s, especially with trying to navigate tremors and tame uncontrolled movement. My experiences with vision loss are very different, yet I recognize similarities in terms of focused attention as a way to combat constant motion.

Righting oneself against a current that never ceases to pull: the books tell me to pay conscious, continual attention to actions like walking, writing, brushing my teeth, if I want to inhibit or delay the failure of neurons in the brain. It is hard to live within constant striving.

Gloves on!/ Anne Carson

Righting oneself against a current that never ceases to pull . . . When I swim across Lake Nokomis, I trust straight, steady strokes to get me across the lake. I’ve lined up the buoys, set a course, then let my good form (shoulders, head position, breathing on both sides with even strokes) lead me to a buoy that I usually can’t see. I also have help from the lack of current in such a small lake. When I swim across Cedar Lake, those same straight strokes don’t help as much. I have to adjust constantly, fight against a current I can’t quite feel. When I don’t, I drift into the middle of the course, then too far over to the other side where swimmers are heading the other way. Even as I try, I can’t read or properly predict this current — is it a current, or something else? Often I drift. On my best loops, it feels awkward, forced, too conscious — more lifting my head to sight, a constant swimming against water that wants me somewhere else.

Since being diagnosed with a degenerative eye disease, I’m giving conscious, but maybe not constant, attention to how I see, to the complicated process of seeing. Some of this attention is out of curiosity and astonishment. And some of it is about helping neurons to fire in new ways and learning how to see differently.

The uncontrolled motion I experience is not tremors, but images that constantly shift and shimmer and buzz, usually in ways too subtle to see clearly. I feel them — soft notes of disorientation, dizziness, restlessness. Maybe you could call them tremors? The ground never ceasing to unsettle.

Recently, I’ve been writing about the different definitions of still. Is the constant motion I see never still? I’m not sure. I think I’m striving for new ways of defining that word and of accessing the feeling of being still, enough, calm.

july 7/SWIM

4 loops
lake nokomis open swim
69 degrees / calm

Finally, the water was warm! Warm enough that I wasn’t freezing on the drive home, wrapped in blankets. And I didn’t have to take a long, hot shower to thaw out. Another wonderful swim. Strong, confident strokes. Steady, barely a break in the rhythm — 1 2 sight 3 4 5 breathe left 1 2 3 breathe right 1 2 sight 3 4 5 breathe left — once to adjust my nose plug, a few times to avoid drifting swimmers, and once to stand at the big beach between loops 3 and 4.

today, 4 loops = 3800 yards

10+ Lake Things

  1. getting ready to start, overheard: a tiny, older woman in wetsuit to another women in a tri-suit — are you ready to swim? the tri-suit replies: no, I don’t want to do this wetsuit: you don’t want to swim? tri-suit: no, but I have a race on the 14th
  2. a delightfully creaking swing, sounding almost like it was calling out or scolding me — creeaakkk creeaakk
  3. glittering sediment in the water
  4. pale, ghostly legs near the buoys
  5. lifeguards for the win: the course set up and open 5 minutes early! and the buoys were fairly in line with each other!
  6. no swans or geese or ducks or minnows (at least that I recall)
  7. loop 1: sun, a few clouds
  8. loop 2: less sun, more clouds, half the sky turning white
  9. loop 3: more sun again
  10. bubbles, bubbles everywhere from exhaling and piercing the water
  11. I added to the collection of sad, scattered hairbands at the lake floor by accidentally dropping mine at the end of the swim
  12. at the beginning: a metal detector dude, wading in the water!

A few random thoughts: I don’t miss the silver-boat bottom and even if it were still here, the course is set up in a way that would make it unhelpful for guiding me. I only breathe through my mouth when I swim because of my nose plug. Longterm, what kind of impact does that have on my swimming, breathing, fitness? It’s me, hi, I’m the problem it’s me: breaststrokers always seem to be trying to race me. They irritate me. Not that I’m complaining, but how come I never see any snakes in this water (or eels)?

During loop two, I recited Anne Sexton’s “The Nude Swim” as I swam. All this in us had escaped for a minute is still my favorite line, although I also like, we entered in completely and let our bodies lose all their loneliness. I also recited a bit from MO: It is time now, I said, for the deepening and quieting of the spirit among the flux of happenings.

scott’s big band concert

Last night, FWA and I went to Scott’s big band concert. It was outside beside a beautiful lake in a small town northwest of Minneapolis. It lasted for 2 hours. Sitting there, I witnessed the changing light — from bright to shadows to sun descending, sky suggesting pink. At one point, I turned to FWA and mentioned the pink then asked, is it pink? And he said, no and looked at me a little strangely. I responded, I love how my vision makes everything magical. It didn’t look PINK! but more like a whisper, a trace, the slightest hint of pink, as if someone was whispering to me, pink. Was I anticipating the sunset I expected? Or maybe just more attuned than FWA to the changing light, having given so much attention in the past few years to subtle shifts in color?

10 Things During the Concert

  1. at the end of a song, just as the singer was hitting a fabulous high note, a train passed nearby, its horn blaring, sounding like part of the music
  2. someone was smoking a pipe nearby — later Scott complained that he could smell it on stage; I smelled it, but it didn’t bother me
  3. a woman behind me cackling
  4. another woman in a flowing turquoise skirt walking by then stopping to listen to the Stevie Wonder medley then swaying to — now I can’t remember which Wonder song it was, Sir Duke?
  5. no bugs!
  6. birds! — high in the sky, one bird awkardly flapping its wings, frantic with speed
  7. birds! — shooting up in the sky like fireworks or static on a screen, one at a time
  8. the lake behind me — I could feel it but couldn’t see it because to turn and look would seem as if I was staring at the people behind me — oh, why didn’t they position the band shell in front of the lake!
  9. during the concert, people were playing basketball at the court next to the stage — I don’t remember hearing them, just seeing bodies moving back and forth
  10. in the distance, to my right, carnival rides — a spinn-y ride lit up in red and green and blue lights — as dusk neared, I watched the lights glow

It was a long night — we left the house at 3:45 pm, got to the concert venue at 5, waited around until the concert started at 6, then listened for 2 hours, and finally got home at almost 10. But I’m glad I went, and grateful that FWA came too. So many cool images to witness and remember.

june 30/SWIM

4 loops
lake nokomis open swim
65 degrees

Wow wow wow! What a wonderful swim for my birthday weekend. The air was cooler, but the water was fine and the sun was warm. Not much wind, so few waves, but the sun reflecting off the water sparked light everywhere. Felt strong and sore, then not sore, then sore again: mostly my neck from sighting and breathing. I didn’t wear my safety buoy and it felt strange, like I was missing something.

1

The water was clearer, lighter. Less greenish-blue and empty, more greenish-yellow and full of living things — particles, vines, sediment — and light. Shafts of light everywhere underwater — not straight down, but at angles and coming up from the bottom not down from the sky. An illusion, but fun to imagine the light source as down below. The opposite of Lorine Niedecker’s “ocean’s black depths” (Paean to Place) and Alice Oswald’s “violet dark” (Nobody). I noticed the shafts of light the most in the stretch of water between the last green buoy and the first orange one.

2

After I finished my 4th loop, swimming just inside the pink buoys, I looked underwater — clear enough to see the sandy, rocky bottom, but not clear enough to see any hairbands. Writing this reminded me of what I witnessed before the swim: minnows! As I waded in the shallow water, dozens of little fish scattered as I approached. None of them nibbled at my toes, or if they did, I didn’t feel it.

3

During the first loop somewhere between the first and second orange buoys an alarming thought appeared: what if I fainted in the middle of the lake? In the past this thought might have caused panic which I would feel in my body — a flushed face, harder to breathe, hot tingling on the top of my head. Not today. No physical effect. Within a few minutes the thought was gone. Is this because of the lexapro? FWA says that sometimes he feels the lexapro working — he’ll start having overwhelming thoughts but instead of spiraling, he feels himself become separated from those thoughts — they become abstract and distant. I wondered about this as I stroked then connected it to Alice Oswald’s Homeric mind and the idea of thoughts not just living in our head but traveling outside of our bodies from there to there.

3

I only saw the orange buoys when I was right next to them. I was almost always swimming straight at them, so some part of me knew they were there, just not my eyes. No panic or fear or negative thoughts as I looked at the nothingness of water and sky and a vague, generic tree line.

june 19/RUNSWIM

2.5 miles
2 trails
64 degrees

A quick run before meeting my college friends for lunch. Cooler today. Heard the rowers. Spotted: at least 2 bright yellow shirts, one bright pink. City (or county or park?) workers were out re-tarring a few more spots on the trail. Hooray for less craters! Last week, they finally filled in the big crack that had white spray-paint around it, making it look like a tube sock or Florida (I’ve written about it before). I wonder if they’ll finally fill in the hole that’s been getting deeper every year? The one that would definitely twist your ankle if you stepped in it. I hope so.

I don’t remember hearing any birds or roller skiers or laughing kids, but I do remember the squishy mud on the winchell trail and the bug bite I got as I walked home.

color in/on/under water

Listening to Alice Oswald’s lecture, Interview with Water, I came across this great passage about color. First she’s mentions that poets performing The Odyssey always wore blue robes, then she mentions a line from book 8:

Odysseus
with his strong hands picked up his heavy cloak
of purple, and he covered up his face.
He was ashamed to let them see him cry.
Each time the singer paused, Odysseus
wiped tears, drew down the cloak (8:84-89)

Then she references something she said a few minutes earlier —

I keep a bucket of rainwater under my window and it delights me that green leaves reflected in a black bucket are not quite green. I don’t know what color they are. At certain moments, early in the day, they might be called pre-green, but then the clouds change or the wind moves the surface mark and all at once they seem bright dark and blind silvery then foggy emerald.

— and says this:

To go back to that bucket of water — to wave a blue gown above it and ask, What is that color which Homer calls porfurium? It is not blue exactly; it gets translated as purple but purple is a settled color whereas Homer’s word is agitated. It derives from the sea verb porfurion which means to roll without breaking, so it is already a fluid word, a heaped up word, a word with underswell, not a pigment but an emanation from the nature of water. To get a true sense of porphyrion you need to see the sea in it and for Homer the sea is unhuman full of strange creatures missed colored unplowable and this is my favorite word it is a peritone meaning unfenced. If you want to imagine the colour of Odysseus’ gown you will have to swim out into the unfenced place, the place not of definitions but of affirmations. Yes I’m afraid you will have to find your way to the p volume of Johnson’s unwritten dictionary. There you will discover a dark light word an adjective for edgelessness — a sea word used also of death smoke cloth mist blood between bluish purple and cobalt mauve. It appears mid-ocean when the wind perhaps makes a network of backblowing glitters that the underswell moves sideways as when a big sea swells with noiseless waves. It is used of the heart meaning his heart was a heaving not quite broken wave. It indicates a surface but suggests a depth a mutation of flatness or noiseless sheen, a sea creature, a quality of caves, any inlet or iodine or shaded stone, a type of algae or rockfish, anything excessive or out of focus or subliminal — for example: a swimmer seen from underneath, a rotting smell, a list of low sounds, an evening shadow or sea god, a whole catalogue of simmering grudges storms waves and solitudes or deep water including everyone who has drowned in it. To be purpled is to lose one’s way or name, to be nothing, to grieve without surfacing, to suffer the effects of sea light. to be either sleepless or weightless and cut off by dreams — find yourself in the silence underneath an overhanging way that or thereabouts is the color of a bluish violet ultramarine gown so the great poet sang.

Interview with Water

Wow! So many wonderful things to do with this passage! For now, I want to think about how color works underwater. In an hour, I’m heading over to deep (at least, deeper than Lake Nokomis) Cedar Lake to swim across it. How will color work as I swim? Below water? Above? Is this agitated, moving purple similar to how I see all the time? (Yes, I think.)

swim: 4 cedar loops (= 2 nokomis loops)
cedar lake
72 degrees

The first swim at Cedar Lake! As I’ve mentioned here before, Cedar has a very different vibe than Nokomis. Hidden away, at the end of a gravel road. A small beach. No buildings, the only bathroom a port-a-potty. Chill lifeguards. Today the water was cold but (mostly) calm. Not too many swimmers. 2 lifeguards on kayaks, 2 orange buoys, too much vegetation growing up from the bottom of the lake. I overheard another swimmer mentioning the vines too.

color: Inspired by Alice Oswald, I tried to think about the color of the water. Cloudy, not clear. I could see the vines and the bubbles from my breathing and my hands entering the water but not much else. Not purple or blue but green — not dark green but pale green. Maybe some pale blue — yes — and light gray. Occasionally a shaft of light from above, a dark vine below. Textured bubbles. Not much to see, but not nothing there. Instead, everything small, packed, too dense to decipher. No color and too many colors. Impossible to pin down with “green” or “gray” or “blue.” Not grief, but uncertainty.

june 16/SWIM

swim: 2 loops
lake nokomis open swim
75 degrees / choppy

A choppy swim. Fun, but not easy with my out-of-swimming-shape body. I didn’t swim at all this winter: sore back, neck, shoulders. Wow, do I love open swim! I was nervous before the swim, wondering again if I’d be too disoriented. Nope. I just kept swimming and made it to all of the buoys. I love how approximate open swim is; you don’t have to take the straightest, most direct line, you just need to stay on the right side of the 5 buoys and on the left side of the 4 or so lifeguards on kayaks.

10 Things

  1. the water felt COLD when I first entered, but wonderful as I swam
  2. a strange pale vine just below the surface
  3. small waves to my right, making it harder to breathe
  4. swells from behind making it hard to stroke on the stretch parallel to the big beach
  5. my eyes couldn’t see the far orange buoy, but my brain did: sighting, a voice in my head said, it’s straight ahead — this happens a lot, these days. The trick, to trust
  6. on the other loop: that same orange buoy in sight but so far away, seeming to get farther away with every stroke
  7. breathed: a mix of every 5 or 4 or 3, a few 2s when it was extra choppy
  8. more vegetation, pale, ghostly, reaching up from the bottom
  9. exiting the water, a woman speaking to some friends: I was nervous, so I didn’t wait. I already swam./ another woman: Did you like it?/I loved it!
  10. no birds or planes or strange noises underwater

An essay to return to: Friday essay: ‘an engineering and biological miracle’ – how I fell for the science, and the poetry, of the eye

Okay, I’m returning to it now (added a few hours later). I wasn’t planning to, but I read something in a recent New Yorker story that decided for me that I should. Two moments, one from the article and one from the story:

1

Iris presents to me with failing vision. Examining her eyes, I see “geographic atrophy”, little islands of missing retinal tissue worn away over time. This is a form of incurable, age-related, macular degeneration. It results in permanent loss of central vision, with peripheral vision remaining intact.

It’s not good news; my stomach tightens as I prepare to deliver it.

Iris replies, tearily, that she just lost her husband of 60 years. She’s now alone and becoming blind. I’m taken aback – what can one honestly say to this?

Sure, there are visual magnifiers, home modifications, other practical aids that may guardrail her physical safety. But her anguish goes beyond this; she’s on the edge of a personal precipice, and teetering. There’s electricity in the consult room, a lightning-rod moment for sure.

How might a poet view this scene?

Then, a few sentences later:

Good poetry must go further, seeking the patterns beneath the surface. What precisely is it about Iris that moves me so? She is losing things, important things. Witnessing this touches my deepest fears, knowing that, like an unwelcome house guest, loss visits us all, sometimes staying for good. 

As my Persian countryman Rumi wrote, “this human being is a guest house”. Losing our own physical abilities or our loved ones, what would become of us?

Distilling this further, what exactly is loss, its weight and texture?

Inversions,
your cherished glass of shiraz shatters
on the tiles, your laden table
upended. Warmth whistles
out through the cracks, cold rises up.
Midnight:
your reasons for living dwindle,
walking out the door
one by one.

Friday essay

2

Farah put up her hand. She said, “I don’t find it difficult to think about . . . ,” then paused in surprise at not being able to say “dying,” “about choosing not to live if I’m going blind.”

Beyond Imagining (fiction) / Lore Segal

Wow. I am not as old as Iris, and I didn’t just lose my husband, but the description of her vision loss (albeit a different condition) is the same as mine: all central vision gone, peripheral sight stays. I don’t doubt that many “Irises” feel this despair when confronted with this diagnosis, but it’s not the only way that people respond. It is not how I responded. It is, however, the way that most haunts our imaginations — the blind specter. I’d rather be dead than blind!

I’ve read the whole article, but I stopped reading the short story. I should return to it and see what happens. Maybe I’ll be surprised, maybe it will go deeper than the tired trope of the blind specter.

june 13/RUNSWIM

5 miles
bottom of franklin hill and back
70 degrees / dew point: 60

Overcast, which helped it feel a little less warm. Sticky, thick air. A lot of sweat, especially on my face. Dripping ponytail. So green even the air was green. Greeted the Welcoming Oaks — hello friends! Descended into the tunnel of trees and was enveloped in green. Chanted triple trees: sycamore/sycamore/sycamore/red oak leaf/silver birch. Heard the rowers through the trees. Admired the barely moving, calm water under the bridge — the surface was dotted with foam and reflected clouds. Saw a speck in the sky out of the corner of my eye. Tried to look at it, gone. Tried again, a plane almost covered in fog. Saw a dark ring around it — my ring scotoma? Appreciated how the outline of the treetops on either side of the river road echoed the shape of the river banks. Walked up the hill — it took me 7 minutes — then ran, walked, ran back. Ended with a dozen roller skiers above me while I climbed out of the tunnel of trees.

For the first mile, in the dark green quiet, everything was dreamy. Thought again about how running puts me in a strange, surreal state. Nothing quite real. Then thought about Lorine Niedecker and the physical act of seeing with messed up eyes and using the poetic form to represent that. I’m not aware of how my eyes move as I see except for when I look to the peripheral as a way for my central vision to see something. I imagine having nystagmus makes you more easily register the movement of your eyes. How conscious was LN of her eye movement and how it was mimicked in her lines? When I think about how I see — the mechanics of it and its physicality — I think more about what happens when the corrupt or limited data travels as electrical impulses through the optic nerve and to the brain. Are the effects of nystagmus primarily physical — strain on eyes, the rapid movement creating dizziness and headaches? I should read more about it. . . . The physical impact of my vision sometimes reads as dizziness and light-headedness, but mostly it’s just a vague sense of unease and fatigue — more naps. I rarely feel the eye strain or get headaches from my effort.

In the article I was reading about LN’s nystagmatic poetics, this poem was discussed:

Tattoo/ Wallace Stevens

The light is like a spider.

It crawls over the water.

It crawls over the edges of the snow.

It crawls under your eyelids

And spreads its webs there—

Its two webs.

The webs of your eyes

Are fastened

To the flesh and bones of you

As to rafters or grass.

There are filaments of your eyes

On the surface of the water

And in the edges of the snow.

note at 11 am: Today is my first day of open swim! After the swim, I’ll return to this entry.

I’m spending the afternoon on the deck, reading Niedecker and thinking about Alice Oswald and Niedecker and my Haunts poems. Here are some jumbled thoughts:

You have been in my mind/between my toes/agate — Lake Superior/LN

You’ve been in
my mind

beneath my
feet Mom

Look for me under your boot-soles — Walt Whitman

Ars Poetica/ Arcelis Girmay

May the poems be
the little snail’s trail.

Everywhere I go,
every inch: quiet record

of the foot’s silver prayer.
             I lived once.
             Thank you. 
             I was here.

“We a lovely/finite parentage/mineral/vegetable/animal” — Wintergreen/ LN

I’m interested in how many layers you can excavate in personality. At the top it’s all quite named. But you go down through the animal and the vegetable and then you get to the mineral. At that level of concentration you can respond to the non-human by half turning into it.

Alice Oswald interview for Falling Awake

To write a poem is to be a maker. And to be a maker is to be down in the muck of making and not always to fly so high above the muck.

Poetry is Not a Project/ Dorothy Lasky

We can’t float or fly for long, above. We are part of the muck, not stuck but entangled, beholden

to work down/ to ocean’s black depths/us us an impulse tests/the unknown — Paean to Place/ LN

2 loops / 1.5 miles
lake nokomis open swim
80 degrees

Open swim! Open swim! I was nervous before the swim, wondering if I would see the buoys. I did! The water felt wonderful — a little cold, but not too cold, and wavy but not choppy. I watched the sun filtering through the water, avoided the vegetation growing up from the bottom and the swan boat stuck right by the orange buoy. That menacing swan was a little too close as I neared the buoy. The last green buoy was so far from the orange buoy — it seemed to take forever to reach the beginning of the loop. Oh, I love open swim and what joy to have had a good first swim!

june 12/WALK

1 mile with Scott
neighborhood
82 degrees

Was planning to bike to the lake and swim today, but it rained. On and off all day. So I read about Lorine Niedecker and took notes. Then, a quick walk with Scott.

Here are some observations from my deck, the yard, the window at my desk, and the walk:

10+ Things

  1. deck: the sky heavy, gray, expectant — but it’s not supposed to rain today! — it did and then did again
  2. deck: under the lime green umbrella, hearing the first drops, soft and slight
  3. deck: the service-berry bush at the edge of the deck did a better job of keeping the deck dry than the umbrella!
  4. front yard: after rain today, and the wind the past few days, the yard was almost as much twig as grass. Our neighbor’s tall tree with the wandering limbs offers unwanted gifts all year
  5. desk/window: in the left window, a blob stretches above the other hydrangea leaves — dark, diseased — what is it?
  6. side yard: not sure what this blob is even up close — could it be army worms? or is it just a failed unfurling?
  7. side yard: near the gate, a rogue tree is growing outside of our neighbor’s window. Will they cut it down before it gets too big and becomes a problem for us?
  8. desk/window: rain, pouring down, missing the gutter and sliding straight off the roof in sheets — too much debris/dirt in the gutter?
  9. no lightening but far off thunder rumbles
  10. green green green green green green green green
  11. cabbage or lettuce or something else green growing in a neighbor’s planter
  12. the sweet snell of pine after the rain
  13. convinced I was seeing a giant fish sculpture until Scott told me it was wrapping over a tree
  14. workers re-roofing a sharply angled roof with no harnesses

Here ares some thoughts to remember from Niedecker:

1

LN’s life by/with/on water involves saturation not transcendence.

2

Thru birdstart
wingdrip
weed-drift
of the soft and serious
water
(from “My Life on Water”/ LN)

3

Reading is a bodily act — within the body, not transcending the body. The physical act of reading words with diseased eyes.

4

Time to challenge the myth that not being able to see “naturally” makes your hearing improve — That visual impairment improves hearing, taste, touch, smell, is mostly myth — Halos. Ed Bok Lee — LN used sound in remarkable ways, and also explored seeing differently.

5

One of the traditions LN draws from, Objectivism, believed in the clear, straight-seeing eye. In later work, like “Wintergreen Ridge,” she challenged the possibility of this straight-seeing.

Tell all the truth but tell it Slant — ED
Alice Oswald and the slow, oblique, slight squinting of the Old Women in the Illiad

6

Imagists (Ezra Pound, HD): to see the world as it is, the IS, the this, scrubbing away to the essence

Objectivists (Zukofsky, Williams Carlos Williams): to look with clear eyes, pay attention, as is in context

Oh my scouring eye/that scrubs clean the sky — “perhaps you tire of birds”/ Donika Kelly

7

I used to think I was goofing off unless I held only to the hard, clean image, the think you could put your hand on. But now I dare do this reflection.

LN

8

Video, My Life By Water

may 17/RUN

5 miles
bottom of franklin hill
65 degrees

Feels like summer is here. Everything green, my view of the river gone. I did see the river for a few minutes, as I ran down to the flats, but I don’t remember what I saw. Wait — yes, I recall seeing the reflections of trees.

Felt good for the first half, not so good the second. Tired legs, some gastro stuff.

added a few hours later, when I remembered: Along the river road, the workers were out patching asphalt and replacing wires in the street lights that were recently disemboweled again. How many times has this happened? Running north, I saw a guy in an orange vest with a big spool of coated wire, rolling out a lot of it on the bike path. Later, returning south, I saw another worker sitting at the base of a street lamp, fiddling with the wire. It looked like a time-consuming job. I read somewhere that all this stolen wire has cost St. Paul millions of dollars this year. I also read — maybe in the same article? — that the coated wire was stamped with “City of St. Paul” on it and that that stamped wire had been recovered at at least one scrap metal company that frequently bought stolen wire. Is Minneapolis wire stamped too?

I think I partly remembered witnessing the street lamps and the wire because of reading today’s episode of the Slowdown. Major Jackson picked a poem by Liesel Mueller that I gathered a few years ago for my list of vision poems: Monet Refuses the Operation. When I first encountered it, I didn’t really get it. Then, a few months ago (18 feb 2024), I read it again and it suddenly made so much sense. Yes, I thought, she gets it. She starts the poem with an image of streetlights:

Doctor, you say there are no haloes
around the streetlights in Paris
and what I see is an aberration
caused by old age, an affliction.
I tell you it has taken me all my life
to arrive at the vision of gas lamps as angels,
to soften and blur and finally banish
the edges you regret I don’t see,
to learn that the line I called the horizon
does not exist and sky and water,
so long apart, are the same state of being.

I don’t think I see halos around street lamps, but the idea of things blurring together, and edges not being visible (or not existing), is very true to my experience. This poem, along with several others I’ve collected, including Ed Bok Lee’s “Halos” offer ways to think about how I see as beautiful and magical, not tragic. Here’s how Major Jackson (love his poetry!) describes this “bad” vision as beautiful:

Poets and visual artists work to give representation to the world which shimmers and blurs. Sometimes only impressions are available. Rather than a fidelity to things as they are, we desire to represent those very distortions. Today’s dramatic monologue is a gem of a poem, one that reminds how everything around us is divined with light, even our imperfections.

Episode 1120

I can’t remember what I listened to for the first half of my run, but after running up most of the hill, I stopped to walk and put in my “Slappin’ Shadows” playlist. My favorite came from, “Dancing in the Moonlight”: you can’t dance and stay uptight

Favorite song: “Evening” — the haunting flute! the melancholy bass clarinet! love it

Evening makes me think of a wonderful poem that I encountered while rereading old entries from on this day.

Evening/ Jeremy Radin

Another word I love is evening
for the balance it implies, balance
being something I struggle with.
I suppose I would like to be more
a planet, turning in & out of light
It comes down again to polarities,
equilibrium. Evening. The moths
take the place of the butterflies,
owls the place of hawks, coyotes
for dogs, stillness for business,
& the great sorrow of brightness
makes way for its own sorrow.
Everything dances with its strict
negation, & I like that. I have no
choice but to like that. Systems
are evening out all around us—
even now, as we kneel before
a new & ruthless circumstance.
Where would I like to be in five
years, someone asks—& what
can I tell them? Surrendering
with grace to the evening, with
as much grace as I can muster
to the circumstance of darkness,
which is only something else
that does not stay.

I think I’d like to memorize this poem, just so I can spend some more time with it, especially out on the trail.

random line encountered again: “squirrels devote much of their life to not-dying.” Today, I’d like to write around and into this stark line.

silhouettes

On Wednesday, I picked up three books related to my shadow month: the kids’ book, The Shades, Diana Khoi Nguyen’s Ghost of, and Kara Walker: My Complement, My Enemy, My Oppressor, My Love. Today, I’m skimming through Nguyen’s and Walker’s books and thinking about silhouettes again.

When I look at Kara Walker’s work, I see adamantly two-dimensional images — images pinned and flattened in a rejection of Renaissance space.

Forward/ Kathy Halbreich

Okay, I would love to be able to read all of this book, but, wow, there is very little contrast and even with my brightest lamp, I’m struggling to read the words. Bummer.

I observe in Walker’s visual liexicon a world I’ve never seen quite so explicitly: a pictorial vision in which everyone is a mere silhouette of self, a profile drained of facture (def: the manner in which — a painting — is made) or flesh, pushed flat and up against the wall.

Forward/ Kathy Halbreich

Halbreich references an interview with Kara Walker in Index, which I can read much more easily than the book:

The silhouette says a lot with very little information, but that’s also what the stereotype does.  So I saw the silhouette and the stereotype as linked.  Of course, while the stereotype, or the emblem, can communicate with a lot of people, and a lot of people can understand it, the other side of this is that it also reduces difference, reduces diversity to that stereotype.  I was kind of working through this in the tableaus and things that I’ve been doing, where the intention was to render everybody black and go from there.  Go from this backhanded philosophy that blackness is akin to everything.   

Kara Walker

In a quiet voice, she [Walker] might say that her narratives are a radical condensation of a faith in shadows, or “becoming.”

Forward/ Kathy Halbreich

Two silhouettes I recall encountering during my run:

one: Running down into the tunnel of trees, dark and thick with green, I saw a figure ahead moving strangely, something dark trailing around them, almost like flapping wings. Getting closer, I could see it was a dark jacket of sweatshirt tied around their waist. As they swung their arms widely, the sleeves of the jacket were ruffled.

two: Hi Dave! Thinking again about how I (almost) always can identify Dave the Daily Walker because of his distinctive form: one arm that swings out from his side — wide and awkward.

may 16/RUN

4.2 miles
ford loop (short)
56 degrees / humidity: 84%

Sticky with a cool wind. Glad to have my orange sweatshirt on when we started, but happy to take it off after 2 miles. Very moist. I told Scott I felt like one of those sponges you use for moistening stamps — damp all over. This led us to a discussion of how most stamps are stickers now and how hard it is to find non-sticker stamps. I suggested that my comparison — between sweaty me (would that be the tenor of a metaphor?) and the sponge (the vehicle?) — might be a dead metaphor. Then I took it a step further and suggested that stamps and letters were becoming metaphors that no longer worked because people don’t use stamps and send letters as much as they used to. Now it’s all online. This lead us to a discussion of library archives and old papers and what’s being lost when all of our evidence is online (and easily manipulable). I think that conversation was wrapping up as we headed east on the franklin bridge.

I remember admiring the dark, flat river and hearing a far off woodpecker. No sun or shadows today.

note: this paragraph was added later in the today. Earlier I couldn’t remember what we talked about on the east side of the river, finally it came to me. Between Franklin and the trestle on the east side, we talked about Still Life paintings and I mentioned how many dead animals are in the ones I’ve seen — the only way to study them closely — and with pools of blood or strung up, their bodies contorted in grotesque ways — or were those just the still life paintings Diane Seuss picked for her poetry collection? Anyway, I mentioned wanting to play around with different meanings of still: not just keeping still, but enduring. Scott mentioned a whiskey still and I thought that, since we both like bourbon, I should write a poem titled Still Life that was about drinking bourbon.

Sometimes it felt gloomy and sometimes, like walking back over the lake street bridge after we finished, it felt intense, vibrant as a certain slant of light made the green leaves glow. Woah! What a bright green!

After delighting in the green, we talked about the difference between shadows and reflections and I mentioned how I always see the edge of the water, darkened by trees, as shadows and not reflections. Scott couldn’t understand how I would get reflections and shadows mixed up. I couldn’t either until I realized much later that my confusion stems from my vision loss, at least partly. The dark forms at the edge of the shore don’t look like reflections, they look like dark shadows — no details, no evidence that it’s anything but a mass of darkness. When it’s brighter, I can easily see and understand that the smiling bridge in the water is a reflection and not a shadow. Another example: I can picture and imagine easily the difference between the shadow of a cloud crossing over me and the reflection of a cloud on the water.

At the beginning of the run, I recited the Jorie Graham poem I memorized this morning. Then I talked about the other Graham poem I encountered (see below). After I finished reciting the poem — which I did successfully while running! — Scott and I discussed the difficulty of listening to modern poetry and trying to grasp the meaning of strange language, or language used strangely with ears instead of eyes. As part of this, we discussed the oral tradition and its different methods for telling stories that people could make sense of as they listened. Again (because I have mentioned it on this blog before), it makes me want to study more oral forms of poetry, especially as I learn to rely more on hearing rather than seeing words.

a poet speaks to me from across the page

This morning, before running with Scott, after I finished memorizing Jorie Graham’s “Still Life with Window and Fish,” something strange and wonderful happened. Looking through the collection that “Still Life” is from, Erosion, I found another poem I wanted to read: To a Friend Going Blind. I began to read it and, seven lines from the end, there it was, me. Not Sarah but Sara. Out of nowhere, like the narrator or Graham was speaking just to me. Wow. Maybe I’m missing something and her Sara is referencing something earlier in the poem, but reading it for the first time, I gasped. I am Sara, and I am (most likely) going blind, and I know the beauty of the walls.

To a Friend Going Blind/ Jorie Graham

Today, because I couldn’t find the shortcut through,
I had to walk this town’s entire inner
perimeter to find
where the medieval walls break open
in an eighteenth century
arch. The yellow valley flickered on and off
through cracks and the gaps
for guns. Bruna is teaching me
to cut a pattern.
Saturdays we buy the cloth.
She takes it in her hands
like a good idea, feeling
for texture, grain, the built-in
limits. It’s only as an afterthought she asks
and do you think it’s beautiful?
Her measuring tapes hang down, corn-blond and endless,
from her neck.
When I look at her
I think Rapunzel,
how one could climb that measuring,
that love. But I was saying,
I wandered all along the street that hugs the walls,
a needle floating
on its cloth. Once
I shut my eyes and felt my way
along the stone. Outside
is the cash crop, sunflowers, as far as one can see. Listen,
the wind rattles in them,
a loose worship
seeking an object
an interruption. Sara,
the walls are beautiful. They block the view.
And it feels rich to be
inside their grasp.
When Bruna finishes her dress
it is the shape of what has come
to rescue her. She puts it on.

Her use of inside and rich and interruption here surely must be connection to the poem I just memorized: the beautiful interruptions, the things of this world and even the windowpanes are rich and I love it here where it blurs and nothing starts or ends but all is waving and colorless and voiceless.