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Archive for November, 2020

Lightly, lightly. It’s the best advice ever given to me.  

–Aldous Huxley, Island

Eventually I learn

that anything I would hold onto

will weigh me down—

sorrow, of course,

but even delight.

And there is no predicting

when the next step

will find me travelling

onto thin ice—

so I remind myself

each step, each breath,

each grasp, each hope,

go light, go light.

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Their hats are cockamamie.

One has lost its carrot nose.

Stone buttons and eyes

have long since succumbed

to gravity. But there is

something yet dignified

about the snow people in the yard,

their knobby stick arms raised

as if, in their declining state,

there’s still so much to praise.

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Getting Ready

What might you need to let go of or “clean out” in order to make room for wonder or joy?

—Kayleen Asbo, Advent and the Arts: The Week of Hope

Just today I walked

in the shadows

and noticed how

they scrubbed me

the way silence sometimes

scrubs a room.

Wonder rushed in.

It wasn’t that I was trying

to keep wonder out,

it’s just that with my schedule

and rigor, I hadn’t left it

space to enter.

If only with mop

and broom I could sweep

out anything

that would keep me

from wonder, from joy.

Instead, the world offers

shadow, stillness,

quietude, loss,

and a red-tailed hawk

in the heart,

circling, circling,

wondering what

it might subtract next.

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What does control have to do with the creative process? How could a poem really save you? How might we fall more deeply in love with the world as it is? These are some of the questions I muse about with poet/radio host/friend James Navé on his radio show Twice 5 Miles. Recorded last week, the hour contains lots of practical ideas for writing and meeting the self that might rather hide … I hope you enjoy listening!

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I no longer remember much of etiquette

from reading White Gloves and Party Manners,

so when Obama doesn’t come to our house

for Thanksgiving dinner, I needn’t worry

that I’ve forgotten how to address a former president

in an informal setting. I do, however, remind my kids

that if Obama were sitting with us,

they would want to remember to put their napkins

in their laps. They do.

And you probably don’t want to lick the serving spoon,

I add, as it goes from the cranberry sauce

into an eager mouth. And we don’t talk about farting.

The whole time Obama isn’t eating mashed potatoes with us,

we wonder what he is eating with his family

and what they are talking about,

and if he might not just accept an invitation

to our home for dinner. If he did,

we agree we would refrain from using the knife

with the butter dish to butter our own bread.

And, uncertain how to address him,

we’d just ask him personally how he’d like be called.

I’d like to believe that Obama might actually show up.

He’d knock at the door in his elegant and humble way,

no fanfare, holding a side dish of roasted brussels sprouts,

and we’d listen as he told us what he’s up to these days.

As it is, it’s kinda fun when he doesn’t show up

and we act like ourselves. I eat my green beans

with my fingers—they taste better that way.

My daughter plays with the candlewax.

Sometimes, I lick my plate.

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Building the Snow People

We rolled them out of backyard snow.

How quickly snow balls the size of a heart

become snow boulders the size of a man.

We gave them features

to make them more like us.

Dark brown stems and leaves of dried mint?

Those became hair. Carrots for noses,

of course. Small gray rocks for eyes.

Plus knobby sticks. Rust-colored leaves.

Thin icicles from the eaves.

The wail of a siren going by—

that went into them, too.

Plus a prayer for those in pain.

And a slip of blue Colorado sky.

We walked among them,

these rare guests in a time of quarantine,

and perhaps we felt our loneliness lift.

What is a snow man but a temporary cairn,

a dolled up trail marker that leads us

back to ourselves, back to our own backyard.  

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So little of life’s sweetness

can be planned. Oh, meals,

of course, and sometimes

children. But mostly, joy

loves a surprise, loves

when schedules get shuffled

and agendas unravel and

suddenly there’s a space

for bliss to slip in dressed

in calamity’s clothes.

So easy to praise what

looks like success—

but teach me to give thanks

for the mess—

whatever is burnt, broken,

wounded, fumbled, missed.

Teach me to be open in each

unscripted moment

to the bloom of gratefulness.

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Small Things

Small things aren’t just important,

says my father. They’re everything.

And I think of how,

night after night, he’d lie

on his back on the floor

and bench press me

as I stood with one foot

in each of his hands.

Years later, every morning

he’d lift me with a phone call—

This is the Broadmoor. This is your

morning wake up call.

He’d say it in his snootiest,

haughtiest British butler voice.

And years later,

when we hold hands

he rubs his thumb across my thumb,

a small, familiar gesture of love.

Now, wishing I could hold

his hand while we sit

in different rooms together

a thousand miles away,

I can almost feel

the pad of his thumb

move across my knuckles

the way wind moves over water

and creates the weather.

It lifts me.

It’s everything.

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And do you know that you’re actually going to make more of a difference by focusing on politics than on the culture you’re passionate about? You don’t know what you might help make happen. Our world is full of the result of unintended as well as intended consequences. 

        —Yo-Yo Ma, “Yo-Yo Ma and the Meaning of Life” in The New York Times Magazine, Nov. 20, 2020

When Rilke travelled through Russia

and studied Saint Francis

and fell in love with the married Salomé

and wrote poems for The Book of Hours,

he could not have known

that over a century later

a woman on another continent

would find herself wrestled by darkness

and find in his poems encouragement

to lean even deeper into darkness

until she could fall in love

with what she feared most.

He could not have known she would

tattoo his words into her memory

and scribe them into her blood

so whenever she walked or lay in the dark

she would have his words ever with her,

and they made her not only more brave

but more wildly alive than she’d been before.

And what if, as his parents had pushed,

Rilke had joined the military

and turned his back on poetry?

And what if he had not gotten himself expelled

from trade school so he could go on

to study literature and art?

What would have become of the woman

a hundred years later

had she not found his poem

and learned from him to love the dark?

Here’s a version of that poem that saved me, “You Darkness, That I Come From,” read by Meryl Streep.

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Like Tonight

After wrapping the present,

mom would pull ribbon from a roll

and wrap it around the gift.

She’d tie a knot at the top,

then ask for my finger

to hold the ribbon in place

while she fashioned the double knot.

Eventually I learned what Mom knew—

it’s not hard to tie a ribbon alone.

Still, the loan of a finger is lovely.

Lovelier still, partnership.

This is what you do for me.

Though you’re far away,

sometimes when I find myself trying

to, oh, wrap things up,

I feel, perhaps, an invisible hand

reaching in to help where I most need it.

How much easier the work is then,

such a gift, to meet the present together.

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Praise the pumpkin

with its orange flesh—

how it softens

and sweetens as it cooks.

Praise the way it lends

its rich and earthy density

to pie and bread, curry and soup.

The body responds

with a something akin to joy—

tethered by humble pleasure

to exactly this moment,

as if a flavor could help us

know god—

as if a taste could help us

become who we are.

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Winter Evening

Though I sit alone

on my couch at home,

I’m somehow also sitting

with Rachel and Julie

and it’s summer and

we’re laughing, laughing

until we tumble

into each other’s laps,

laughing as we collapse

into a puppy pile of giggles,

laughing because it feels

so good to laugh—

even now I laugh aloud

with no memory of why

we were laughing then,

but many years later,

it’s still contagious.

Sometimes we tumble

so wholly into the grace

of a moment

that it opens in us forever,

continuously blooms

and spreads its perfume

like night-blooming jasmine,

christens everything

with its fragrance,

even this empty room,

even this tired woman

now so surprisingly awake.

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We become what we think about.       

  —Earl Nightingale

So let’s say I think of the Regent of Ridiculousness

who, both alluring and alliterative,

insists on eloping with elephants

and reading only far-fetched philosophers.

Such a Ridiculous Regent, perhaps does not exist,

except that I think about him, and so,

perhaps as Earl Nightingale suggest,

I become him, become an exuberant exhibitionist,

a giggling goof who spontaneously translates Transylvanian—

that’s Romanian. I’d write this all off as irrational,

except already I’m feeling rather regent-ish, certainly ridiculous,

and it’s only line twelve of the poem.

Imagine, dear reader, you, too,

are right now becoming ridiculous,

addicted to alliterative allusions. Sorry!

Tomorrow we might think more therious thoughts.

But for today, rollicking ridiculousness!

For today, suntem regenți ai ridicolului!

For today, may we be viscounts of vivacity,

prime ministers of playfulness, marquesses of mirth,

and duchesses of delight!

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Today when the wind

wrests branches from trees,

cartwheels the watering can

snatches my peace,

I search in me

for a way to praise it,

praise a force strong enough

to rip trees from the earth,

push a ship cross the sea,

and shred what I think I know.

There is in me

a vehement storm

that I have tamed

for fifty years.

Is it any wonder

the wind makes me nervous—

not that I don’t know

how to relate to it,

but oh, because

I do.

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Ode to Syn-propanethial-S-oxide

You hide in the flesh of onions

the way hope hides in certain Superbowl commercials.

It’s not that I don’t expect you,

so why does it feel like an ambush when you,

chemical irritant released into air,

bring tears to my eyes and I stand there

at the kitchen counter weeping

over the cutting board,

weeping as if a lover died,

as if listening to cello,

as if I realize again there is so much suffering

in the world I cannot change.

You remind me it’s natural to cry—

that waterworks are hardwired into the eyes.

You teach me sometimes what nourishes us

also burns.

There are times when I’ve wondered

why we aren’t all weeping—

weeping for the lack of connection,

weeping for children who hunger,

weeping for love between friends

and the red of maple leaves—

it’s as if you give us permission,

prepare the pathways,

so that when at last we succumb

to our glorious humanity

we don’t try to hide it,

we don’t act as if it’s a problem,

we just stand in the center of the room

and let those hot tears

fall down our cheeks,

the salt sharp and hot on our tongues.

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Off the hot street and down

the narrow stairwell,

I entered the smell of books—

a musty scent of paper and ink.

How I loved entering the stacks,

shelves taller than I was.

Loved running my hands

along hardcover spines

wondering at the worlds inside.

I was allowed twelve thin books,

that meant twelve chances

to travel to realms where monkeys

stole hats and the Whangdoodle snoozed.

Twelve chapters in which I

was no longer an awkward girl

but a baker in an old village

or a mouse in an attic befriending a girl

who was something like me,

or at least like the girl I wished I could be,

a girl who was brave, a girl

who couldn’t help but stumble

every single time

into happily ever after.

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I suspected I shouldn’t

open the oven door

ten minutes before

the timer went off.

Is it a sin if you don’t

know the rule?

The cake looked perfect,

when I checked,

but ten minutes later

the puff of white had fallen,

fallen like Lucifer,

fallen into a dense sponge

from which it would never

again rise. Oh angel food cake,

victim of my impatience,

we ate you anyway,

served you with strawberry fluff,

and you, like a true angel,

stayed sweet. It was no fault

of your own that you fell.

How often am I responsible

for the so called failures

of others? How often

do I, in my excitement,

cause more harm than good?

Praise the fallen angel food cake,

that still, though compact,

offered itself to the birthday.

Praise what is good

that insists on its own goodness,

despite adverse circumstance.

Let me remember

the graceful botch,

the redeemable flop,

the crumb yet moist, so tasty.

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Because

for my mother

Because you are the morning song,

I sing dawn into the sleepy room.

Because you are a prayer,

I have psalms for hands, vespers for feet,

and there is holiness in the spatula,

devotion in the chair,

faith in sirens, in old vases.

If there are cranberries in my thoughts,

it is because you are the sugar

that taught them not to be afraid

of their own sharpness.

And the white and red petunias

that flutter inside my hope

are there because you planted them

decades ago.

I didn’t know all these years

that I was being made—

but because you are the abacus

I am the calculus of possibility.

Because you are the basket

I’ve learned to weave.

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Kindness went out and got itself

a new engine—a four-hundred horsepower

twin turbo 3.3 liter V-6 engine.

Something with real oomph.

Something that provides a bit of giddy-up

when the loving gets tough. Turns out

kindness likes horsepower.

A lot of horsepower. Plus it sprung

for direct fuel injection to maximize

its power output. Everyone thinks

kindness prefers things quiet and calm,

but kindness is ready for action—

ready to take on the world,

ready to travel every back road,

every highway, every main street

and get this ever-loving show on the road.

There’s a whole lot of loving to do.

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With Stars All Around

for Jude

From this high rooftop

reciting poems

into the night—

waiting to hear

the poem of you

on your rooftop

calling back.

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