The Crows Wait Patiently

Two crows on a bare branch,
one grooming the other
as the nigh spring sun sets;
a breeze makes shadows dance

over the empty bowl.

-Kathryn Harper

A Glimmer For Today

Hello! I'd like to introduce you to Sydney. They are in the lower left corner of this photo.

Many years ago I was quite phobic about spiders. I'm talking about not being able to sleep if I saw a spider in my bedroom, visceral physical reactions of disgust at seeing one, and intense terror. I loved reading Charlotte's Web and understood intellectually how helpful they were. But this couldn't get past my lizard brain response.

In my 20s I began to work on shifting this. I made myself look at them more closely if I saw them outdoors. I worked on talking myself down to a calmer state. Rather than killing them when I found them at home, I began to rescue and release them. I still had the heebie jeebies with some of the bigger ones. If I found one in the car I'd probably melt down. But for the most part I've gotten over the phobia.

I'm not a passionate or dedicated housekeeper. Dusting feels pointless. The house is neat but a bit cobwebby around the corners. Last September a spider established a small home base on the kitchen sink window. We had a problem with fruit flies in October, and Sydney was quite helpful resolving it. They began to weave a more elaborate home, and I decided as long as it remained confined to the windowsill I would leave it be.

And here we are, six months later. Sydney remains, and the sill is strewn with little carcasses of prior meals. I'm not sure how long spiders live but am impressed how much time has elapsed with Sydney at the sill. I would never have envisioned me allowing this years ago. 

There’s Always Looking After

There’s Always Looking After

A tree is a guardian angel.

Trees talk to us, they
whisper stories and secrets,
slip us clues to universal mysteries.
Do you see the forest, or the trees?
Sap murmurs up the trunk in spring. Listen.
The apple falls (not far from the tree), its
crisp honey tang for the taking. Notice
how the air changes when you approach
a woods; the fresh, spicy scent of leaves
and needles performing their gift of tonglen.
Handle limbs gently. Despite their
coarseness, trees are benign as babies.

Autumn. My favorite elegy. Red orange yellow
each color a note, a symphony of glorious
death. Gaia’s last hurrah before hibernation.

Glorious death. The nativity of Jesus in
Bethlehem was honored by his parents, wise
shepherds, angels — even animals. But not
one tree except for the remnant serving
as his crib. Look what happened to him.
Whereas Buddha, under a Bodhi tree,
received the gift of enlightenment.

Beware. Trees are destroyers. When touched
by lightning (not an angel), in a rhumba
with the wind, trees release limbs as
geckos lose their tails. They surrender
responsibility, abandon stability,
crush what lies beneath. A shard
of wood thrown by a tornado can kill you.

How many angels are there? They number
more than all the leaves on all the trees
since Big Time began. Earth — head
of a pin on which all trees dance.
Those trees, they krunk in a hot minute.
We just don’t see them. They move so fast.

A baby is born. A sapling takes root.
As roots grow, her neurons multiply.
They amputated the tree in our yard
the other day. Am I going to die now?

A tree is a livin’ thin’, wif it’s own
varmintality, expressed by it’s shape,
texture, locashun, seasonal variashuns,
shade/sun alterashun, th’ emoshuns it
invokes in th’ obsarver, th’ memo’ies
it stimulates in th’ obsarver. A tree
lives as long as a hoomin, o’ longer,
an’ faces th’ elements day-in an’
day-out. To sacrifice a tree is a kind
of euthanasia. A tree thet yo’ plant
today will outlive yo’, an’ affeck other
hoomins in th’ future junerashuns… but
will only be thar IF yo’ an’ yer projuny
own th’ lan’ on which th’ tree thrives.
Own SOME lan’, somewhar, an’ put trees
on it, an’ viset an’ watch them grow.

The ancient forests of knowledge
hidden in dusky, musty library stacks
have become my land. My mind, my tree
of knowledge, thrives. It is all I have.
On this moonless night everything
telescopes, clarifies. Brightness erupts
from inky black. The dark night of the soul
is really a form of enlightenment.

I fall on my knees, praying to No God.
The god of no. I sway in the wind, yearning
to be struck, to plummet, to become the abyss
that annihilates, that looks into me. Oh,
the ecstasy of descent! I cry for it.

Mindful One, she thinks too much. She dwells
inside her head, sips the ink of books too
often. For all her lofty talk about meaning
and nature, she lives indoors, estranged.
Reconciliation is possible. The priest
intones, you are dust and to dust you shall
return. So it shall be. A reunion.

Yes! A gorgeous reunion. A gorgeous death.
It shall be as it is, unless it is as it shall
be. Remember, nascentes morimur. The voice is
relentless, paralyzing. Death, inevitable from
the beginning of my existence. My destiny, our
destiny, is to become nothing.

Not so, whisper the trees. Willow weeps over my
rigid despair. A pine tree caresses my hair.
You do not become nothing. You become everything.

The body becomes a corpse. The corpse rots, feeds
maggots and beetles, enriches the soil. A squirrel
foraging embeds a nut, forgets it. The nut germinates.
A sapling grows, slowly. Outside of time. Watching over.
Witnessing the Mystery. There’s always looking after.

-Kathryn Harper

I wrote this poem 20 years ago, following this exercise from The Practice of Poetry:

This exercise comes from page 119 of The Practice of Poetry: Writing Exercises From Poets Who Teach, edited by Robin Behn and Chase Twichell. The goal of the exercise is to write a poem that includes these twenty suggesetions:

1. Begin the poem with a metaphor.
2. Say something specific but utterly preposterous.
3. Use at least one image for each of the five senses, either in succession or scattered randomly throughout the poem.
4. Use one example of synesthesia.
5. Use the proper name of a person and the proper name of a place.
6. Contradict something you said earlier in the poem.
7. Change direction or digress from the last thing you said.
8. Use a word (slang?) you've never seen in a poem.
9. Use an example of false cause-effect logic.
10. Use a piece of "talk" you've actually heard (preferably in dialect and/or which you don't understand).
11. Create a metaphor using the following construction: "The (adjective) (concrete noun) of (abstract noun) . . . ."
12. Use an image in such a way as to reverse its usual associative qualities.
13. Make the persona in the poem do something he/she would not do in "real life."
14. Refer to yourself by nickname and in the third person.
15. Write in the future tense, such that part of the poem seems to be a prediction.
16. Modify a noun with an unlikely adjective.
17. Make a declarative assertion that sounds convincing but that finally makes no sense.
18. Use a phrase from a language other than English.
19. Make a nonhuman object say or do something human (personification).
20. Close the poem with a vivid image that makes no statement, but that "echoes" an image from earlier in the poem. 

NPR Tiny Desk Contest 2023 - Andrea Gibson - MAGA HAT IN THE CHEMO ROOM

 

 

Andrea Gibson's brilliant force has departed their body. They were a beacon of courage and compassion communicated through poetry. I mourn our loss. May their brilliance and love manifest forever. 

 

Andrea Gibson's website.

 

Andrea Gibson's Substack.

AMORIRI (Official Video)

Shamanic, animistic, primal, intense, and gorgeous. Discovered while at Ecstatic Dance. A shorter version is in rotation on my music service.

 

A Sterner Sense of Justice

 “Whether we and our politicians know it or not, Nature is party to all our deals and decisions, and she has more votes, a longer memory, and a sterner sense of justice than we do.”

--Wendell Berry

 

Making a Mark

“I always had hopes of being a big star. But as you get older, you aim a little lower. Everybody wants to make an impression, some mark upon the world. Then you think, you’ve made a mark on the world if you just get through it, and a few people remember your name. Then you’ve left a mark. You don’t have to bend the whole world. I think it’s better to just enjoy it.”

--Dorian Corey

Children Need Release

Am I allowed to take up space? Am I allowed to ask for your attention? Am I welcome here? May I relax and put my attention to other things? 

Perilous Dark Path

"We seldom go freely into the belly of the beast. Unless we face a major disaster like the death of a friend or spouse or loss of a marriage or job, we usually will not go there. As a culture, we have to be taught the language of descent. That is the great language of religion. It teaches us to enter willingly, trustingly into the dark periods of life. These dark periods are good teachers. Religious energy is in the dark questions, seldom in the answers. Answers are the way out, but that is not what we are here for. But when we look at the questions, we look for the opening to transformation. Fixing something doesn't usually transform us. We try to change events in order to avoid changing ourselves. We must learn to stay with the pain of life, without answers, without conclusions, and some days without meaning. That is the path, the perilous dark path of true prayer."

---Richard Rohr, Everything Belongs: The Gift of Contemplative Prayer

One Book, Many Books

 "And then, when she's finished and the book ventures out into the world, the readers take their turn, and here another kind of comingling occurs. Because the reader is not a passive receptacle for a book's content. Not at all. You are our collaborators, our conspirators, breathing new life into us. And because every reader is unique, each of you makes each of us mean differently, regardless of what's written on our pages. Thus, one book, when read by different readers, becomes different books, becomes an ever-changing array of books that flows through human consciousness like a wave. Pro captu lectoris habent sua fata libelli. According to the capabilities of the reader, books have their own destinies."

                --Ruth Ozeki, The Book of Form and Emptiness