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Archive for May, 2019

 

 

When you wrote of the spider

launching through vacant space,

reeling from one sphere of meaning

 

to another, you didn’t know then

that you wrote that poem for me.

Two centuries later, this woman

 

reads about the bridges we are all

trying to form, and Walt, damned

if that wasn’t filament coming out

 

through your electric fingers.

 

 

 

https://poets.org/poem/noiseless-patient-spider

 

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basil on the porch

the morning after a frost

leaves limp and black things—

how greenly it met yesterday

no amount of I’m sorry will do

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Manifesto

 

 

 

And if we can’t save the world,

and who says we can’t, then

let us try anyway. Perhaps

we have no superhuman powers—

can’t see through buildings,

can’t fly, can’t bend the bars of cages—

but we have human powers—

can listen, can stand up to,

can stand up for, can cradle.

And if we can’t imagine

a world of peace, and who

says we can’t, then let us

try anyway. Perhaps we start

tonight—on a Wednesday.

Thursday works, too. Or Friday.

Doesn’t much matter the day.

All that matters is the choice

to meet this moment exactly

as it is, with no dream of being

anyone else but our flawed

and fabulous very self—

and then, wholly present,

bringing this self to the world,

touching again and again what is true.

What if we do? And if we can’t

save ourselves, and who

says we can’t, let’s try anyway.

There was a time I thought

I could never be healed. That

was only because it hadn’t happened yet,

so I decided it wasn’t possible.

Healing happened anyway.

What have we decided isn’t possible?

What if we stopped believing

that limit? What if, right now,

we used our human powers

of compassion, clarity, gratitude,

praise? What if we did it together—

opened all those closed doors inside

us? What if we let the opening do

what opening does?

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I ask the night

teach me to ask bigger questions

it replies

perhaps you could

take the pen away

from the one who wants

to ask questions

and then let her come

walk in the night

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I suppose by then I had guessed

that love was not only about happiness,

not only about ease and feeling good.

In fact, it turned out as the newborn boy

continued to cry for month after

inconsolable month, love looked

a lot like misery. It sounded like wailing

through all his waking hours.

It felt like exhaustion. Love looked

like losing a dream. And choosing

to cradle the infant anyway. And soothing

the wailing infant anyway. Love

had little to do with happiness.

 

And eventually the crying stopped. And

the boy learned to laugh. And to

hug. And to love. And happiness came.

And went. And came. And went. But love,

love stayed. Like a jay that comes

to the feeder and refuses to leave,

even if you don’t put out seed.

Like the freckle that stays on the skin

long after the burn from the sun.

Like the scar on your elbow shaped like a heart

that you got from falling in gravel. How it took

so long to heal. How you pray it never fades.

 

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Budding

 

            (with thanks to Donnalee for the peony buds)

 

 

Sitting with the peony

whatever is red in me reddens

and whatever in me is fist

loosens its grip

and whatever was sorrow

finds no mirror

and whatever is grateful

becomes fragrant

and I don’t even think

to remember

it won’t last forever,

all I know is

inside,

sweet nectar.

 

 

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on the wall of flame

after all these years

still trying to hang a portrait

 

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And though I curse you

and drive you and push you,

body, you hold me,

you carry the soul,

you transform the plum

and the leaf into laughter,

you make tears out of water

and wine. You leap

and you slump, you

sing and you hunger,

you skip and run and crawl.

You let me be part of the miracle

when you made a new body within—

building spine and brain and chin

and toe out of broccoli and coffee and toast.

And when I am clumsy,

you wear the scars to remind me

where we have been. You

change, you soften, you rearrange.

You heal, you insist, you rest.

How, after all these years,

do I still find ways to ignore you?

You who have carried me across finish lines,

you who have held the weeping child?

Why, when I look in the mirror,

do I do anything but marvel

at your skill? Imagine, you breathe

without my command. You regenerate cells.

You tell the blood where to go and when.

Oh body, I’m sorry. I have hurt you. And you,

you hold me like the child that I am,

and you breathe me, you teach me,

you let me try again.

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I like my body when I’m in the woods

and I forget my body. I forget that arms,

that legs, that nose. I forget that waist,

that nerve, that skin. And I aspen. I mountain.

I river. I stone. I leaf. I path. I flower.

I like when I evergreen, current and berry.

I like when I mushroom, avalanche, cliff.

And everything is yes then, and everything

new: wild iris, duff, waterfall, dew.

this poem can be found in Hush (Middle Creek Press, 2020)

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Because I can’t make things better,

I offer you tea. I am grateful when you accept.

The night holds us both

as we sit in the kitchen,

your voice a small boat

in an ocean of ache.

 

Because I can’t fix the problems,

I cover you with a blanket

when I see you are shivering,

though I know your shudders

have little to do with cold.

Still, it feels good when you pull

the white throw around you,

as if for the moment you’re protected.

 

I think of the Queen of Sheba,

how she learned to be grateful

for falling. How, in the dark,

she found her own light within,

then rose up and shared

this pearl with the world.

 

Because you are hurting,

I listen to you, would listen

all night, would listen all week.

I offer my whole attention.

And as you find in yourself

the light that is there,

I marvel as you marvel

at your own wisdom, your

own strength.

I listen. I nod.

I pour you tea.

 

 

 

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I listen for the hidden wholeness, wisdom, and grace.

            —Wayne Muller

 

 

I’ve forgotten how to listen

for the hidden wholeness—

trained by the ring of the phone

and the morning alarm and

the unheard bells of the day

that say “go, go, go.”

I’ve forgotten how to be still.

To empty. To unexpect.

 

Today, though it is May,

the green world is covered

by snow. It’s one way the world

learns to unknow itself.

 

My teacher reminds me

how the deepest healing

can only take place in the quiet,

the still, the great awake.

 

I know she is right, but

it is the kind of knowing

that is too certain of itself.

 

As I walk, I open my hands

to let the snow land there.

I watch the flakes melt.

For a moment, I almost think

I can hear them. For a moment,

I forget who is doing the listening.

 

 

 

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Redefinition

 

 

 

Darling, they’ve redefined the kilogram.

Once it was a thing. A real thing:

a platinum-iridium cylinder

weighing 2.2 pounds. A thing they kept

in France in a high-security vault. A thing

they could compare to other such weights

kept in vaults all around the world.

As if to lock a thing up is to keep it

from changing. Forever.

 

Now we know better.

Every thing changes. It’s the nature

of things. Even prototypes lose atoms,

no matter how sterile the room

in which they’re kept.

The loss may be only the weight

of a single eyelash that no longer

bats itself at time.

Over time, it matters.

 

Now, understanding the volatile nature of things,

they’ve made the kilogram an idea—

a simple truth—by tying its definition

to Planck’s constant. How the world loves

a constant.

 

Darling, know that I am a thing.

I have wanted to be constant,

unwavering, true, but I lose things.

I gain things. I change innumerable

times a day. I am never the same woman

as I was yesterday. Each time we speak,

I swell, I leak. I will always love you

not the same. There is more at work than gravity.

It’s the way the heart is made.

 

I want to make you promises.

Like constancy. Like forever.

I promise that I’ll change.

Like the old kilogram. Like weather.

 

https://www.cnn.com/2018/11/13/world/kilo-measurement-scli-intl/index.html

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Once I would say “table,” and mean

“table.” Once, I would say

“broccoli” and mean “broccoli.”

I would say “stone” and mean

“stone.” I really did believe

that things were separate.

And nameable. Now,

every word that comes

out of my mouth, no matter

how many syllables, no matter

the tone of voice, no matter

my intention, I’ve come to understand

that every word

is really just a translation

for thank you,

thank you for this moment.

And every silence between the words,

regardless how brief,

is really just the sound

of one hand in gratitude clapping.

 

 

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One Devotion

 

 

finding in me

the place where honey

is stored

almost empty

still offering it to you

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Despite the News

 

 

 

Again the rain,

and I wander

the tender green grass

of the field.

The hands pull weeds

because the hands

want something to do.

And the mind looks

for morels, because the mind

wants something to do.

And the feet wander,

because they are born

nomads. And the heart

opens. Not because

it wants to, but

because there is something

in the scent of rain

that suggests

so much is possible,

even, against all odds,

beauty. Even, though

it seems impossible,

another day.

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What do a poet and a science writer have in common? A podcast on creative process! And in this episode of Emerging Form, Christie Aschwanden and I discuss collaborations–what makes them work, how they go sour, and what to do then! We also discuss whether collaborations need leaders, wemerging formhy listening is an essential skill for working with other creatives, Chinese food, the Jabberwocky, and how spontaneity can enhance a creative collaboration. And then we’ll wrap up our conversation by talking with musician/songwriter/video producer Christine Laskowski who will play our game of two questions. We’ll ask her 1) What makes a good collaboration? And 2) How do you deal with conflicts when they arise in a collaboration? You can weigh in on these questions yourself, either on our website or on our Facebook page. You can find Emerging Form wherever you find podcasts, or on our webpage here.

 

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weeping beside

the pussy willows—

all those tears

over saying goodbye,

I wouldn’t uncry

a single one

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goldfinch stealing

into the thorn bush—

oh heart, bless you

for being willing, please

don’t follow him in

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Why do we have to do this,

asks my daughter, hoe in hand,

and I, hoe in hand, reply

that it’s good for the soil

and helps it to breathe.

 

I think about how my own thoughts

crust over, how quickly

they become impenetrable.

 

And then hoe of loss. Hoe of hope.

Hoe of disbelief. Hoe of shock.

 

Again and again,

the world breaks me open,

allows the new to come in.

 

Again and again, I resist

the change. And then marvel

at how essential it is,

the new ideas so green,

so persistent, tender as

a girl asking why.

 

 

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A mallard swims

in the beaver pond,

the sunlight makes

green praise of its head

 

and for an instant

the whole world

revolves around

emerald sheen.

 

There is little else

that’s green here,

though it is late spring—

but over 10,000 feet

 

the snow tends to linger.

This is a place where

the mind doesn’t hesitate

to offer its attention

 

to the sharp scent of trees,

to the snaking trickle of snowmelt,

to the thrill of cold air

in the lungs. And in giving

 

itself away, the mind

becomes clearer, becomes

a shining and natural thing,

like a mallard wing, like

 

a tree just before leafing,

like a canyon in which

the lush green world

is just about to emerge.

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