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Archive for September, 2017

Without Making a Sound

 

 

 

The cat does not care that I’m meditating.

She cares that I am warm and seated and still.

I pretend that I am ignoring her and notice

when I pretend not to notice I am pretending.

She settles in my lap. I notice how

this act seems to involve the whole world.

All day, I consider how powerful an act

to touch someone. how even the sky leans in.

 

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I’m not saying we shouldn’t be angry.

Anger seems reasonable. But perhaps

we will do what I’ve heard the Inuit do—

spend the emotion on walking, walk a line

until all the anger has left our bodies.

The moment the Inuit notice the anger is gone,

replaced, perhaps, by sadness or fear,

compassion or just a quietness,

they mark that spot with an object

to show the extent of their anger.

And perhaps, if we’re lucky, when we walk

this way, it will be a long enough walk

that we arrive at each other’s doors,

object in hand, and when the object

leaves our grip, we’ll be able to use our hands

to greet each other, touch each other’s faces,

point to the horizon to all the other places

we might choose to walk now together.

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This morning, like every morning,

his mother rises with her heart open.

Somehow, overnight, it has healed.

She is not like the paper doll

that, when wrinkled by callousness,

will not ever return to its former shape.

No, somehow the heart not only heals,

it grows bigger—some miracle she cannot

understand. She thinks back

to the day he was born, the day

the towers fell. As she went into labor,

she thought no, not today, no not today,

until some strange grace slipped into her

and spoke the new words,

of course today, of course today.

How beautifully, how forcefully

love insists on itself. How astonishing,

the daily miracle that leads us

again to each other.

 

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Expressionism

 

 

Let me be the canvas, then,

and you be Jackson Pollock—

be the wild one, the one

who burns, the one who

never sleeps and never yawns,

the one who steals the sun

and gives it to me.

Be the one who transforms me

again and again with colors,

ardent and avid and mad—

no, let me be the canvas,

and let life be the painter,

and you, you be the paint.

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We stand in the field.

I swallow any words

that might try to fix things.

Some things cannot be fixed.

Instead, we say the words

that make us weep.

Grief stands with us then,

and holds us

with absolute tenderness,

its arms impossibly kind.

It starts to rain.

We do not move to leave.

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The fool, with all his other faults, has this also, he is always getting ready to live.

—Epicurus

 

 

Then let me be the other kind of fool,

the fool who lives too much,

the fool who jumps in

before the water is in the pool

and ends up running instead

of treading water,

the fool who loves wholly before

she is certain that her heart will not break.

Let me be the fool who wakes

at 5:30 to start the day in the generous dark

and goes to sleep after midnight

so as to play with all the shades of the day.

Let other fools be the infinite planners,

the perfection engineers, and let me

be the fool who leaves the house

in such enthusiasm to play

that I leave behind the things I think I need.

It is foolish, perhaps, to wish

to be a fool. Yes, just be. Just be.

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I inadvertently topple the vase,

the water more pouring than dripping

from counter to floor,

and I think of Isan, the lowly cook

in the koan. As the story goes,

the Zen master fills a vase

with water, then asks his disciples,

“Who can tell me what this is

without naming it?”

The senior disciple says,

“No one can call it a wooden shoe.”

But Isan, he walks over

to the vase and kicks it

so that it falls over and the contents spill.

The master smiles.

Standing now, with the sponge

in my hand, I know I am too practical

to have done what Isan did.

I wouldn’t want to clean it up,

nor would I want anyone else

to have to clean up my mess.

I wonder, if, without having

knocked over my own vase,

I would have ever considered

my own answer to the master:

I would walk to the garden

and return with a small bouquet

of calendula, salvia, cosmos and thyme,

then arrange the cut flowers

in the water in the vase.

Perhaps they are gifts,

these mistakes—this knocking over

of things and cleaning them up—

how it makes the old lessons

come home. Isn’t it like me

to want to keep things beautiful and clean?

How I honor old Isan, his understanding

that the truth cannot be held.

I honor the spilling, the infinite spilling,

even now as I finish wiping up the spill,

then rearranging in my own small vase,

now refilled, the scattered calendula,

salvia, cosmos and thyme.

 

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Unknown

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More Bloom, More Bloom

 

 

I can’t wait until they die

my daughter says to the marigolds,

a wild joy grows on her face,

because then, she says,

I can pull them apart

and spread seeds

all over the place.

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Shavasana

 

 

Once again, the field rehearses how to die.

Some of the grass turns golden first. Some

simply fades into brown. Just this morning,

I, too, lay in corpse pose, practicing

how to let myself be totally held by the earth

without striving, how to meet the day

without rushing off to do the next necessary

or beautiful thing. Soon, the grass will bend

or break, molder or disintegrate. Every year,

the same lesson in how to join

the darkness, how to be unmade, how quietly

we might lean into the uncertainty

of whatever comes next.

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