Tuesday, December 29, 2015

How Mary Oliver teaches and inspires

Do These Poems Speak to You?

You gave me a book of poems ~
Felicity, what does it mean?
   apt and pleasing
   expression in writing
but why the caution
   when headlong might save a life?
“They are her love poems you know.”
No, I didn’t know.
From Mary through you to me?

You speak of longing
then point out the poem on page 15,
   the one that contains death?
   and one of the poems contained a tree…
I am pleased to tell you…
   Mary loves trees, as do you and I, too.
But do trees love us
even with our saws and hatchets?
Why do we cut down what we love?

You told me you read this book cover to cover
like a novel, a love story.
   “You know how the climax
   comes in the middle?”
I want to cheat and peek at the middle poems
   get right to the essence of Mary, of love, of you.
I want quick answers
to those questions
that have no ready answers…

Do these poems speak to you
or speak of you between the lines
   like the space between
   rings in a tree stump
like the years between
   your beginning and end?
These poems are short,
potentially a quick read,

but I will take my time.



Upon your mother’s death

I search for a poem about fireflies
to send you maybe
Mary Oliver wrote something
about fireflies
so I don’t
have to it’s too hard
to write you too
hard to open
my heart
your grief 
I don’t know 
so I look
for a poem about fireflies
and find golden head Gannets, Whelks, Ghosts
but can you
catch them in a Mason jar
at dusk or in your fist
at nine years old
I don’t know
I didn’t know
you then or even now
but I know fireflies
and that quick swipe
on a muggy night
to catch
the light cupped
between my palms I can
crouch low on the freshly mown
lawn and peer
into the tiny cottage of darkness
I know
so I look again
for a poem about fireflies
and find Starfish, Rain in Ohio, Rage
and When Death Comes
like the hungry bear in autumn
but it is summer in Michigan
and a firefly
that lights on your wrist
as you cry it’s too hard
to be grown up these days
to be big all the time stand tall
and write you I don’t know
what to say
and it’s too hard
to write
about fireflies

------
And most recently:

A New Psalm
            for the 20th Anniversary of Bridgeport UCC 1998-2018

Do you think I know what I’m doing?
That for one breath or half-breath I belong to myself?
As much as a pen knows what it’s writing
Or the ball can guess where it’s going next.
~ Jelahuddin Rumi[1]

They asked her to do church differently.
So, the Word was Revised
and the Messenger was Mary,
“One day you finally knew
What you had to do and began…” [2]
Do you think I know what I’m doing?
Yes, they agreed:
            the curious
            the wounded
the sinners
the seekers
the fallible
            and the discontent
all God's children, wonderfully made:
            the chosen ones
            the delivered
            the pacifists and warriors
            the black, the brown
            the young, the old
            the men, the women
            and all those in between.
They came together under one roof.
            First to one house
            then to one school
            to one room
            and finally to an empty white church
                        that they painted a hopeful yellow.

And they filled the pews until the “they” became a “we”
and the Word was Rumi:
We are “folded into union
as the split-second when the bat meets the ball
and there is one cry between us.”[3]
Do you think I know what I’m doing?
As much as the ball can guess where it’s going.
She said, “Believe the good news of the gospel.
And as fallible as we are, we are no mistake.”
So we began to make a bridge and a port
            for the lonely
            the questioning
            the marginalized
            the other.
Again, the Word was Rumi:
“If you’ve not been fed, be bread.”[4]
So we made bread
and soup
protest signs
and gardens
            we made silk banners dyed with daffodils
            and we made music, so much music.
“We are clay,” we sang
until the “we” became I.
And as fallible as I am
I am no mistake?
And I am loved unconditionally?
And I am welcome at your table?
And I matter?
I sang “Testify to Love” until “I” became “you”
and you sang “…like eagle that Sunday morning…
To pray you open your whole self
To sky, to earth, to sun, to moon
To one whole voice that is you...”[5]

Do you think I know what I’m doing?
She said, “Be responsible, but carry no guilt.
Be mindful, but carry no shame.”
And again the Word was Mary:
“You do not have to be good
You do not have to walk on your knees
for a hundred miles through the desert repenting.”[6]
And again the Word was Rumi:
“Out beyond the ideas of wrongdoing and rightdoing,
there is a field. I’ll meet you there”[7]
as fallible as you are
because you are no mistake

and you are loved unconditionally by God
            Beloved
            Creator
            One.

Time passed.
And the Word was Mark, “…there are no wrong turns,
only unexpected paths.” [8]
The “you” became “they”
and they found courage for renewal.
He said, “Bridgeport?  Yes!”
and the “they” became “we” again.

Time passed
then she said, “We are the church.”
We are the right and the wrong
            the pain and the balm
            the shouts and the song.
We are the death and the resurrection
            the thorn and the bloom
the soil and the seed that will sustain us.
We are peace where there is war
            and we are a sanctuary where there is none.
We are the church
and “We are God’s children, wonderfully made.
As fallible as we are, we are no mistake.
Be responsible, but carry no guilt.
Be mindful, but carry no shame.
Believe the good news of the gospel —
you are loved unconditionally by God.
May the peace of Christ be with you.”[9]









~Wendy Thompson, 6/10/2018



[1] all Rumi references translated by Coleman Barks in Open Secret: Versions of Rumi
[2] The Journey by Mary Oliver
[3] Folded Into the River by Rumi
[4] The Image of Your Body by Rumi
[5] Eagle Poem by Joy Harjo
[6] Wild Geese by Mary Oliver
[7] #158 by Rumi
[8] The Book of Awakening  by Mark Nepo
[9] Affirmation of Humanness by The Reverend Doctor Susan Leo



Saturday, December 26, 2015

Christmas Eve at Twin Spruce Hollow



Consecrated nights. Snow mounds silent in muted moonlight. White pine boughs bristle with icicles over Twin Spruce Hollow pond ~ firmly frozen, skated over, struck with bladed plectrums ~ lucid accents ring silver through whooping pewter echoes of crack-the-whip. From an indeterminable distance amid black walnut woods I hear the hoot owl’s sonorous song, how der do hoo hoo. Wild fox eyes glow between sinister shadows, but I do not fear the night: for sleigh bells hang on the farmhouse door and a golden light from the toasty kitchen casts a warm welcome across snow drifts, how der do hoo hoo. Redolent oak smoke spirals from chimney tops and the last batch of sugar cookies has just been pulled from the oven. When the muffled groan of the hoot owl taking wing sounds like a tempest brewing in the forest, I do not fear the night for I know I will hear my dad’s melodious response to the owl’s cry. How der do hoo hoo? With an impudent grin he will reply, Great, fantastic, never been better. and I will know all is alright in the night. Stockings are hung by the chimney with care and the tree, a Norwegian spruce cut from the back hill, is strung with bubble lights. Outside, Dad trimmed the holly bush a sparkling white then positioned red and green floodlights as a jovial greeting for all who venture down the gravel driveway, how der do hoo hoo. One lambent stripe of emerald light shines through my bedroom window, over the quilt, on to my cheek, a soft glow like a father’s lullaby of love and I do not fear the night.

Wednesday, December 16, 2015

Self Care in Transformative Language Arts (TLA) Practice

The experiment of rocks in a container that still has room for sand and still more room for water is a powerful reminder when I think of self-care as the rocks, the first thing to put into my container. In the past two years I’ve hustled up enough part-time work to nearly replace my full time job…but there are no paid vacation days, sick days, or even weekends. I’m working constantly. Granted, I’m delighted with the work, but it’s all consuming. Last weekend was the first break from all work since April. I went to the coast for a wedding. Saturday morning I woke at my usual 6:00 a.m., brewed some coffee and sat down in front of the window facing the ocean with my Power of Words homework and journal. I could hear the crash of the surf, but the view out the window was still black except for the reflection of the reading lamp. I went to work with the “TLA snapshots.”
Pat Schneider offered me a ray of insight, “Not being able to write is a learned disability…If you can daydream, you can write. If you can cuss, pray, joke, tell what happened in the hospital cafeteria to a friend -- you can write.” Nancy Shapiro via Flannery O’Connor illuminated my morning with, “I write because I don’t know what I think until I read what I say.” Then Pam Roberts affirmed with a bit more light, “…everyone has a story and…the telling and the hearing of our stories is healing. And in this healing lies the realization that we are more than just our stories.” And so I write…just a few lines about the swelling rivers back home, the sink hole on our street, the power of water, of rain and floods and ocean waves, their blue white foam just now becoming visible through the thin transparent piece of glass, which with walls and corners, and a roof protect me from the elements. I write about the awesome and awful power of water…only 100 yards away like death roars. How is it that I feel more alive with the possibility of death so near? How is it the five stalks of sea weed clinging to the basalt wall between me and the ocean manage to survive the constant barrage of waves? How is it seagulls trust the currents above enough to still their wings and just ride…flipping 360 degree like a Blue Angel? How is it the lacy white spray at the crest of a wave looks so harmless?
The sun has risen, as it does every morning. “…no matter how thoroughly we have convinced our intellects…our unaided animal senses… Whether we are scientists or slackers, we all speak of the “rising” and the “setting” of the sun, for this remains our primary experience of the matter” (Abram, 114). I put down my pen, my work, my worries, my thoughts, my creations, metaphors, dreams, and plans; for the first time in months, I allow myself to just be with the ocean and the gulls. I release to Abram’s suggestion to stop looking at nature as “a fixed and finished entity waiting to be figured out by us” and instead view it as “an enigmatic presence with whom we have been drawn into relationship” (118).
And I am renewed.

What is your songline?

"It's time to get up, it's time to get up, it's time to get up in the morning" my mother would sing to the tune of reveille. Repeat once with words and again with your own version of a blaring trumpet complete with “raspberry spray.” Despite the fact that my mom couldn’t hold pitch, she’d sing all day (even in the grocery store) and into the night even around the Girl Scout campfire (much to my embarrassment). Silly songs like do your ears hang low do they wobble to and fro will pop into my head even today at the most surprising times. I remember my brothers obnoxiously changed ears to boobs, can you tie em in a knot can you tie em in a bow accompanied by obscene gestures. Some of the Girl Scout songs my mom sang, like Make New Friends, taught me lessons. Some taught me history, like Mrs. O’Leary’s Cow about the Chicago fire. Others were just nonsensical like:
I'm a hayseed. My hair is seaweed.
And my ears are made of leather and they flop in stormy weather.
(What is it about my mom's generation and flop ears?)
Gosh oh, hemlock, strong as a pine knot.
I'm a senior can’t you see.
So what do you do on a Saturday night
when all the girls have gone to the fight
and a boy's best friend is his mother
fireman, fireman save my child
good evening friends
bow out
It wasn’t until preparing a slide show for my parent’s 60th wedding anniversary that I discovered that Gosh o Hemlock was a Mickey Rooney expression. Incidentally, Mickey Rooney owned the Downingtown Inn in my home town in Pennsylvania. I didn’t learn the origins of Big Rock Candy Mountain until I was teaching a history lesson about the depression. I realized then that my mom had replaced cigarette trees with sugar plum trees.This was our lullaby…although I’m not sure how the buuuzzzin of the bees helped us calm down for sleep.
My mom was what I always referred to as an instructional mom (as opposed to a snuggling mom). She wasn’t big on cuddles or hugs and never fussed over our physical or emotional pains. Perhaps that was her Midwestern German heritage. To this day she struggles with saying, “I love you.” When I say it to her, she stutters back over the phone, “Yeah, okay, well then, bye now.” She may not have been physically affectionate, but she taught us all we needed to know to survive in this world. She taught we four kids a slew of songs along with how to build a camp fire, ice skate, make buddy burners and sit-upons, dive in the deep end of the pond, peel an apple, sew a plaid skirt, dip beeswax candles…her repertoire was extensive. I realize now that I learned how to teach from my mom. She was leading us in hands-on, integrated, project-based learning in Brownie Girl Scouts before those terms and methods of teaching were ever acknowledged by the experts.
My favorite song Mom sang was, Skinnamarink. I liked it in part because I thought it was written just for me. I was quite a long thin drink of water when I was a kid and my parents called me skinny gink. Also, my mom sang this song to me in a low whisper just as I was falling asleep at night.
Skinnamarink a dink  a dink
Skinnamarink a do,
I love you!

Skinnamarink a dink  a dink
Skinnamarink a do,
I love you!

I love you in the morning,
And in the afternoon
I love you in the evening,
Underneath the moon…

Skinnamarink a dink  a dink
Skinnamarink a do,
I love you!

Sunday, November 29, 2015

No More the Silent Cry

No More the Silent Cry
Trust the cloud of unknowing ~
an air of white-blue liberation.
Stand wide in this urban morning, crowing!

So what if you don’t know where you are going;
sing any song, no more mute hesitation.
Trust the cloud of unknowing,

for you are the queen of all sowing
that thin place of wordless inspiration;
stand wide in this urban morning, crowing!

This lush time is your time for growing.
Ignore those false rulers of reification.
Trust the cloud of unknowing.

This time is your time for feminine flowing ~
you are the mother of creation, of emancipation.
Stand wide in this urban morning, crowing!

So what if your words necessitate a lowing;
this is the time for that quiet (not silent) creation.
Trust the cloud of unknowing.
Stand wide in this urban morning, crowing!

Friday, November 27, 2015

Good-bye to Sheila Lodge



Sheila was one of the most generous I have ever known...not only giving her hugs, love and support, her fierce, mother-bear protection, but also her disappointments, resentments, sorrows, and unbearable grief, connecting us to the full meal deal of being human...both the awe and awful of our breathing beating coursing existence. A section of W.S. Merwin's poem:
"...I have to trust what was given to me
if I am to trust anything
it led the stars over the shadowless mountain
what does it not remember in its night and silence
what does it not hope knowing itself no child of time
what did it not begin what will it not end
I have to hold it up in my hands as my ribs hold up my heart
I have to let it open its wings and fly among the gifts of the unknown..."
AND
When Giving Is All We Have
Alberto Ríos, 1952
One river gives
Its journey to the next.
We give because someone gave to us.
We give because nobody gave to us.
We give because giving has changed us.
We give because giving could have changed us.
We have been better for it,
We have been wounded by it—
Giving has many faces: It is loud and quiet,
Big, though small, diamond in wood-nails.
Its story is old, the plot worn and the pages too,
But we read this book, anyway, over and again:
Giving is, first and every time, hand to hand,
Mine to yours, yours to mine.
You gave me blue and I gave you yellow.
Together we are simple green. You gave me
What you did not have, and I gave you
What I had to give—together, we made
Something greater from the difference.

Tuesday, November 10, 2015

Transformative Language Arts

Well, I'm finally finishing a certification in TLA: almost 10 years and $10,000 in classes, workshops, airfare, and medical bills later! My reading last night for the penultimate class was about Suzan Lori Parks' play Venus, which brought to mind this essay I wrote back in 2007 when Parks spoke at the Portland Arts & Lecture series.


She skips onto the stage, tosses her waist length dreadlocks over her shoulders and plants her feet wide and pigeon-toed like Lily Tomlin’s Edith Ann.  Suzan-Lori, who changed her name from Susan to Suzan as the result of a typo on a promo poster, dons a coral knee-length straight skirt, gray top, and calf-high black cowboy boots.  With hands on hips, elbows and shoulders thrust slightly forward in oxymoronic cuteness, knees locked back, she reminds me of Bad Becky, a childhood neighbor girl.  I expect Suzan to draw toy pistols from a hip holster and zap the audience with literary witticisms.  Instead, this 42-year-old Pulitzer Prize winner (Topdog/Underdog (2001)) begins with, “Anna Nicole Smith died today, and you know, people laugh, and it’s supposed to be funny, but, you know, she was a person too.  As nutty and wacky and loopy, she was a person, too…so just, like, wave to her as she leaves the building, because she was something.”  Such compassion emanated throughout her 90 minute homily.  “Listen in and out,” she advises through a slight lisp.  Then she rolls to the outside of her feet in an unassuming way and asks how to “conduct oneself in the presence of the spirit.”
I am temporarily seized by this muse, by the suggestion to treat inspiration “as an honored guest” and “entertain all my far-out ideas.”  Only occasionally in my 46 years have I fully entertained the muse and my edgy, unconventional ideas.  Typically, I am so consumed by a need for approval that I do not dare blurt out the true meanderings of my mazy mind.  As a child, I spent most of my time in my imagination, creating fantasy lives when I was bored, needing to get out of yard work, or detach from a socially painful elementary school scenario.  I visited complex story lines every night that I couldn’t fall asleep.  I used the index finger on each hand to represent a character and created dialogues between the two fingers in the back seat of my mom’s lime green station wagon.  I would whisper, not wanting to be caught, and occasionally my mother would ask what I was doing back there.  “Nothing,” I would lie as I worked out the hurts of my youth on my index fingers. 
Parks also revealed her imaginary childhood adventures under the piano waiting for her mother’s high heels to click by.  She read Harriet the Spy and Hotel for Dogs and then, when asked, “What are you doing under there?” responded with, “I’m writing my novel.” 
Wish I had thought of that line for myself.
“The play is always happening,” she declares.  “I just plucked something out of the ether.” Suzan-Lori Parks wrote a play a day for a year.  Her efforts resulted in the recent publication of 365 Days/365 Plays (2006). Many of the works are in production at theaters across the country.  If the voices tell you to write a play a day for a year, you say “OK!” Parks explained.  “In the presence of the spirit, you don’t say, ‘What do you mean?’ ” 
I remember reading that Georgia O’Keefe painted a painting a day for the discipline, or perhaps to stir her artistic compost.
I started writing a poem a day for a while. 
Then it became a poem a week, a poem a month, and finally a poem if I happened to be inspired and made the time to write it down. 
I slighted the spirit yet again ~ didn’t even offer her a glass of wine when she came to visit because I was too determined to lead a proper life with a proper income from an acceptable job, own a house, keep it clean, go to bed by 10:00 and never reveal the true outrageousness of my spirit.  After 1825 days of depression, I finally decided to quit my stable job, sell my clean house, stay up after midnight, and trust the voice that dared me to write, fill that life with constant creation and open every pore to the spirit with a resounding, “Yes!” 
So here I am, signed up for a semester at Goddard and writing a Villanelle a day, well, not quite every day, but the point is, I let myself be consumed by the spirit, in love with the spirit, and I listen to words outside my own undulating mind. 
My good friend and housemate Donna sent me a card while I was at Goddard.  “Gazing out the window while rinsing the morning dishes, she chased her thoughts in circles, until they escaped through the screen and onto the mulberry tree.  From a distance they actually made sense.”  On the back of the card by Susan Mrosek it read, “A person needs a place to unfold her truths and extract the humor.  That place is the Pondering Pool.  Perhaps I’ll see you there.” 
             So here I am, in the ‘Pondering Pool’, wondering about the space between and the power of language within that space.  I long to breathe only the ether that Suzan-Lori Parks speaks of; I long to be immersed in synonyms and similes, hyperbole and raw truth, the day to day 365 every day fascination with language as a symbol for enunciating our human condition.  I stepped out to the edge of the tide and the shoreline; now I walk through the wavy waters of artistic unknowing and, like Parks, I hope to set off to Virginia Woolf’s lighthouse and remember who I am and who I am supposed to be. 

Saturday, November 07, 2015

Peace Arts & Poetry

I'm teaching a class called Peace Arts & Poetry where participants use a labyrinth and poetry to explore the creation of internal peace. They leave with a mini book that contains a poem about peace. The class is November 21st 1:00-3:00 at Springwater Studio, 120 SW Towle Ave. Gresham, OR. Here is my poem:

Water Way

Follow
the riverbed
wash clean dust and debris
purified triviality
cleanse me

Arrive
in peace
through streams of green
and humming bees
mitigated silence
So much easier here
between pine trees and idleness
amid effortless lakeside purl

to hear
your Beloved
il bel far niente
light riffles round us shadows fall
day rests with cricket calls
lullaby psalms
be still

Sunday, November 01, 2015

Freedom?

I've been rereading Radclyffe Hall's 1920's lesbian classic, The Well of Loneliness, and came across this quote: "What a terrible thing could be freedom. Trees were free when they were uprooted by the wind; ships were free when torn from their moorings; men were free when they were cast out of their homes - free to starve, free to perish of cold and hunger..." This jaded view of freedom comes from the character's recent banishment by her mother from her childhood home after being outed and jilted by her female lover. Perhaps, too, she came to the realization that for all her longings to have the freedom and independence she perceived men to have, without a love to claim, a heart tethered to her heart, such freedom could only lead to abject poverty and death.

The first time I read The Well of Loneliness I had just moved in with my first partner and thought I'd be reaping of benefits of being claimed in partnership. It took me 20 years and several other lovers and one other partner to realize that I don't have the temperament for a lifetime of rooted-ness with one other. While I do enjoy the security of being claimed by another and I value monogamy, too much possession makes me itchy and claustrophobic, strangled and dismembered by the roots rather than feeling comfortable, secure and whole in the grounded-ness. I am fortunate to be in a relationship now that gives me plenty of room so that I can experience a balance of independence and dependence ~ interdependence, I suppose.

This same said balance is now appearing in my work life. Two years ago today I was cast out from a full time job with a steady pay check, health insurance, 401K, and evenings and weekends free for leisure. Yes, the security of the job afforded me freedom from worry about how I was going to pay my bills, freedom to play and travel, buy a kayak, season symphony tickets, and maybe a new pair of shoes; but what did that job's claim on my time, talents, energy, and imagination steal from me? It tethered my day, my freedom to dictate my time, to follow the thread of inspiration to joyous creation, to question, push boundaries, pursue higher purpose. Now, two years later, I barely pay the bills each month, but I do pay (and I also managed to pay off all credit card debt). I work twice as many hours, late into the night and every weekend for less pay. But I am valued for what I do and it's work that challenges me, stimulates, and engages. Where I used to hit the snooze button on the alarm, show up late to work, and often sleep in on the weekends until noon, now I wake every day without an alarm, sometimes as early as 6:00 a.m. I have not perished as a result of being torn from the moorings of that land-locked nonprofit - quite the opposite - this ship has set sail and is thriving in the open sea!

Wednesday, May 20, 2015

to survive the northwest gray

In the chapter titled “Winter” from Annie Dillard’s Pilgrim at Tinker Creek she writes, “Obviously the thing illuminated cannot be lighter than the illuminator.” She goes on to describe an experiment of a mirror on snow reflecting the sky in its surface. “The dark is overhead and the light at my feet; I’m walking upside-down in the sky.” I believe that, through reading and writing poetry, one can process trauma, a secret shadow self, those dark nights of the soul, and thereby touch upon illuminating insights that lighten our being and lead toward healing and wholeness. The nature of poetry, its rhythm, rhyme, repetition, figurative language, order, and white spaces of silence offers an ideal structure for sorting through fears, pains, confusion, and other negative emotions. A falling leaf is lighter than my hand that catches the leaf, the hand that holds a pen and scribes a description of that leaf on the page. But the leaf is not lighter than the metaphor it engenders or even, simply, the poem on the page or on the breath of the reader.
How does that work, the power of poetry to transform a dark, laden poet into an illuminator of herself? Tess Gallagher’s poem Sing it Rough suggest that the poet must first name and acknowledge, voice the darkness…disclose our trauma, our dis-ease.

You can sing sweet

and get the song sung

but to get to the third dimension

you have to sing it rough,

hurt the tune a little.

Put enough strength to it

that the notes slip.

Then something else happens.

The song gets large.

Then with the tools of vowels and consonants, line and stanza breaks (brakes), metaphor, simile, rhythm, and poetic form the poet can re-frame the earlier dark scenario, put some space between her and the trauma to let some light shine in.

In my 30s I moved from the sunny high desert of Utah to a darker, rainy (but lush green) northwest. Within a year, my serotonin levels plummeted and I was diagnosed with Seasonal Affective Disorder. This triggered the sun-less blossoming of a depressive disorder and I struggled for years. I realized early on that the only way to deal was to “take my depression/darkness to tea” and ask what it needed me to hear. I did this through poetry. Two winters ago, I realized that my depression had drifted away; so despite being recently unemployed, this poem came out:

Gradations of Gray

To become a true north-westerner
I must learn to gaze into the fog
rather than battleship through
the granite gray-green day
with sights only on another leaden tomorrow.

I must learn to let go of fog horns
that pierce and startle
through a pewter dusk
attempting to awaken the unknown

cinereous mystery
dappled light in day or night
smoky ashen ashes to ashes to
drab, dusty iron-clad will
livid purple-gray bruises
of yesterday, let go.

I must learn to adore
a muddled moon
somber silver
as well as the powdery pearl
of a Portland sun
oyster gray
shaded gray pine
astringent slate
stone cold winter
wet heather gray
or withered seared fields
from musty to neutral to peppery
dingy to dove gray
I must learn to distinguish
and esteem them all.

Reflection

Reflection
            (with gratitude to John O’Donohue)

Out my winter window
only an atrophied view
a Monet cataract blur
painted with shadows instead of light.

Brown indifference, bare sticks
where the lilac once bloomed
resentful poverty in the absence
of red-cheeked flickers at the feeder.

A numbed stare, limbo of cynicism
I saw nothing but a reflected surface ‒
not of iced puddles or frozen rivers
with their turbulent mysteries beneath
but the glowing façade of Smart phones and television screens
a restless search through newsfeeds
and list serves where even my Facebook photo
of orcas breaching in the Pacific could not save me.

Until that one day when
the heron of haunted desires
floated by on the gray horizon
stirring the air into a fecund adventure
and hostas sprouted green truth
up through the cold ground
and I was no longer marooned
on the shiny surfaces of the banal.

Friday, May 01, 2015

2 new pine poems for May Day

The forester philosopher, Aldo Leopold, once wrote, “Acts of creation are ordinarily reserved for gods and poets, but humbler folk may circumvent this restriction if they know how. To plant a pine, for example, one need be neither god nor poet; one need only mellow loam and a shovel that sings…”(―from,  A Sand County Almanac )

Pinus lambertiana Watercolor by Elise C. Bush

On an Air of Possibilities 

When the first rays of April sun glance golden
off the row of gray pine – a verdant buffer
            against Columbia River Gorge
            winds and trailer park rowdies below –

there comes the annual click, clickclick, snap click
of pine cones opening to release winged seeds –
            tight conical cones relax in warmth
            like our bones after cold wet winters

in the northwest – like our brain’s stuttering spark
ignites a moss-covered dull hibernation –
            these chattering cones surrender their
            windburn wisdom with our bare wishes

Pining

Awake today
to the towering
sweet Sugar pine
red bark trunk
deeply ridged wisdom
guiding you skyward
toward a canopy
of emerald protection
from too much light

be your longing
be-long
where you belong
in the between

red bark trunk
guiding you earthward
toward thirsty roots
that draw
from an underworld
too deep
where Iroquois buried
their weapons
under the Tree of Peace

be your longing
be-long
where you belong
in the between

Awake today
to the massive Sugar pine cones
that both drop
like torpedoes of intrusion
and lie nestled in needle duff ‒
their complexity and power
their longing to belong
resides settled
in the between