Thursday, January 31, 2013

heaven kicks away the blankets and sheets




that because of the wine's pureness
and the crystal clarity of the glass
the color of glass and wine were confused.
All is glass - or, no, all is wine.
All is wine - or, no, all is glass.
When the sky is tainted
with the colors of the sun
heaven kicks away the blankets and sheets,
the shadows of nothingness.  Day and Night
make peace with each other:
thus have the world's affairs been ordered.



~ Fakhruddin 'Iraqi
from Divine Flashes
art by Lynda Lehmann


Wednesday, January 30, 2013

nets





Our love is
a sister of the light;
deftly, she unwinds
our shadowed nets.

Where they become
keening shawls
to shelter loss,
she pours oil of ease.

From underneath
she rips the knots,
the mass of algae dream
unties and drops.

And the reeds 
woven to cover
fear of the deep,
drift and slip.

Lines of empty eyes
that caught and held
everything blindly,
surge and see.

Water
urges us
to fluency.




~ John O'Donohue
from Echoes of Memory
photo from cog arts culture




Tuesday, January 29, 2013

after the wedding





After the white balloons were swept away
on the wind that had swallowed
most of our vows, after the embraces
and tears, the flung rose petals,
after new friends and old friends and aunts
from all over, after you tossed
the bouquet, and the cries of the children
raised coyote cries on the rim,
after chicken grilled on juniper coals,
cold beer from the cattle trough
and hours of hot dancing to Beatles and Stones,
the last of us swaying arms on shoulders,
singing ourselves hoarse,
how good it is
to find you now beyond all
the loud joy, driving north in rain
and the lovely ease of our silence.




~ John Daniel
with thanks to writers almanac

three stanzas







1.

The knight and his lady
turned to stone but happy
on a flying coffin lid
outside time.

2.

Jesus held up a coin
with Tiberius in profile
a profile without love
power in circulation.

3.

A streaming sword
wipes out the memories.
Trumpet and sword belts
rust in the ground.




Tomas Tranströmer
from The Sorrow Gondola
translation by Michael McGriff and Mikaela Grassl
photos of the tomb of Sir John and Lady Isobel de Sully
Sir John died in 1387 at the age of 106








Monday, January 28, 2013

gleninagh




The dark inside us is sistered outside
in night which dislikes the light of the face
and the colours the eye longs to embrace.

Night adores the mountain, wrapped to itself,
a giant heart beating beneath rock and grass
and a mind stilled inside one, sure thought.

Something has broken inside this Spring night,
unconsolably its rain teems unseen
onto Gleninagh Mountain's listening depth.

Next morning the light is cleansed to behold
the glad milk of thirty streams pulse and spurt
out of unknown pores in the mountain's hold.




~ John O'Donohue
from Echoes of Memory




Friday, January 25, 2013

you can smell it and that is all



To acquire the habit of reading 
is to construct for yourself a refuge from almost all the miseries of life.




His father was in Paris as a lawyer for the British Embassy. At eight years old, his mother died from tuberculosis. His father died of cancer two years later. He was sent back to England into the care of a cold and distant uncle, a vicar.  Miserable at his school. He said later: "I wasn't even likable as a boy. I was withdrawn and unhappy, and rejected most overtures of sympathy over my stuttering and shyness." He became a doctor and practiced in the London slums. He was particularly moved by the women he encountered in the hospital, where he delivered babies; and he was shocked by his fellow doctors' callous approach to the poor. He wrote: "I saw how men died. I saw how they bore pain. I saw what hope looked like, fear and relief; I saw the dark lines that despair drew on a face; I saw courage and steadfastness. I saw faith shine in the eyes of those who trusted in what I could only think was an illusion and I saw the gallantry that made a man greet the prognosis of death with an ironic joke because he was too proud to let those about him see the terror of his soul."


Beauty is an ecstasy; it is as simple as hunger. 
There is really nothing to be said about it.
It is like the perfume of a rose: 
you can smell it and that is all.


~ Somerset Maugham



exposed





November's hunger strips the fields, its thin light
rifles the web and warmth of every nest,
allows the cold day to invade each secret,
absolves the ghosts of leaf that outlast autumn.

Now I can depend less and less on the grace
of spontaneity, talk quickly tires,
words become contrived as the eyes of others
notice my mind unravel in this sallow light.

Intense with silence my room waits for me,
the paintings and open books grown distant,
its window one huge eye on the tree outside;
in the mirror the glimpse of my face draws tears.




~ John O'Donohue
from Echoes of Memory
photo by Christine de Grancy





Wednesday, January 23, 2013

taking the hands





Taking the hands of someone you love,
You see they are delicate cages . . .
Tiny birds are singing
In the secluded prairies
And in the deep valleys of the hand.



~ Robert Bly


deepest prayer





A person should always offer a prayer of graciousness 
for the love that has awakened in them. 
When you feel love for your beloved and his or her love for you, 
now and again you should offer the warmth of your love 
as a blessing for those who are damaged and unloved. 

Send that love out into the world to people who are desperate; 
to those who are starving; to those who are trapped in prison; 
in hospitals and all the brutal terrains of bleak and tormented lives. 

When you send that love out from the bountifulness of your own love, 
it reaches other people. 
This love is the deepest power of prayer.




~ John O'Donohue
from Anam Cara



why I write





I write because to write a new sentence, let alone a new poem, is to cross the threshold into both a larger existence and a profound mystery. A thought was not there, then it is. An image, a story, an idea about what it is to be human, did not exist, then it does. With every new poem, an emotion new to the heart, to the world, speaks itself into being. Any new metaphor is a telescope, a canoe in rapids, an MRI machine. And like that MRI machine, sometimes its looking is accompanied by an awful banging. To write can be frightening as well as magnetic. You don't know what will happen when you throw open your windows and doors.

To write a new sentence, let alone a new poem, is to cross the threshold into both a larger existence and a profound mystery.
Why write? You might as well ask a fish, why swim, ask an apple tree, why make apples? The eye wants to look, the ear wants to hear, the heart wants to feel more than it thought it could bear...

The writer, when she or he cannot write, is a person outside the gates of her own being. Not long ago, I stood like that for months, disbarred from myself. Then, one sentence arrived; another. And I? I was a woman in love. For that also is what writing is. Every sentence that comes for a writer when actually writing—however imperfect, however inadequate—every sentence is a love poem to this world and to our good luck at being here, alive, in it.



~ Jane Hirshfield
with thanks to national writing project




their lonely betters





As I listened from a beach-chair in the shade
To all the noises that my garden made,
It seemed to me only proper that words
Should be withheld from vegetables and birds

A robin with no Christian name ran through
The Robin-Anthem which was all it knew,
And rustling flowers for some third party waited
To say which pairs, if any, should get mated.

Not one of them was capable of lying,
There was not one which knew that it was dying
Or could have with a rhythm or a rhyme
Assumed responsibility for time.

Let them leave language to their lonely betters
Who count some days and long for certain letters;
We, too, make noises when we laugh or weep:
Words are for those with promises to keep.




~ W. H. Auden
from Collected Poems
with thanks to writers almanac




Monday, January 21, 2013

when I am not present to myself






When I am not present to myself, 
then I am only aware of that half of me, 
that mode of my being which turns outward to created things. 
 And then it is possible for me to lose myself among them. 
 Then I no longer feel the deep secret pull 
of the gravitation of love which draws my inward self toward God. 
 My will and my intelligence lose their command of the other faculties. 
 My senses, my imagination, my emotions, 
scatter to pursue their various quarries all over the face of the earth. 
 Recollection brings them home. 
 It brings the outward self into line with the inward spirit, 
and makes my whole being answer the deep pull of love 
that reaches down into the mystery of God.



~ Thomas Merton
from No Man is an Island


in the realm of the passing away









This is the realm of the passing away.  All that 
exists does not for long.
Whatever comes into this world never stops sliding
toward the edge of eternity.
Form arises from formlessness and passes back,
arising and dissolving in a few dance steps between
creation and destruction.

We are born passing away.
Seedlings and deadfall all face forward.
Earthworms eat what remains.
We sing not for that which dies but for that which 
never does.




~ Stephen Livine
from Breaking the Drought: 
Visions of Grace



Saturday, January 19, 2013

indeterminacy in the arts





Indeterminacy means, literally: not fixed, not settled, uncertain, indefinite. It means that you don't know where you are. How can it be otherwise, say the Buddhist teachings, since you have no fixed or inherent identity and are ceaselessly in process? Life is filled with uncertainty Chance events happen to all of us. Each of us must take responsibility and make decisions. None of us should be imposing our ego image on others.

There's another way to live. Accept indeterminacy as a principle, and you see your life in a new light, as a series of seemingly unrelated jewel-like stories within a dazzling setting of change and transformation. Recognize that you don't know where you stand, and you will begin to watch where you put your feet. That's when the path appears.


~ John Cage
from Where the Heart Beats: John Cage, 
Zen Buddhism, and the Inner Life of Artists
by Kay Larson

***

Succulus by Robert Pepperell


Pepperell’s paintings and drawings are the result of intensive experimentation in materials and methods designed to evoke a very specific, though elusive, state of mind. The works induce a disrupted perceptual condition in which what we see cannot be matched with what we know. Instead of a recognizable depiction the viewer is presented with … a complex multiplicity of possible images, none of which ever finally resolves.
....his painting Succulus is very evocative for me of the figures, draped clothing, and sky on the ceiling of the Sistine Chapel, yet I can’t actually recognize any of that in the picture.

***



Aldous Huxley, in The Doors of Perception, describes the appearance of the world as modified by mescaline: “Visual perceptions are greatly intensified and the eye recovers some of the perceptual innocence of childhood, when the sensum was not immediately and automatically subordinated to the concept.”



to swallow back his love



Paul Cézanne in his studio Les Lauves, 1904. Photo by Émile Bernard


The love (in Cezanne's art) is so thoroughly used
up in the action of making that there is no residue.
It may be that this using up of love in anonymous
work, which produces such pure things, was 
never achieved as completely as in the work of this
old man; his inner nature, having grown 
mistrustful and sullen, helped him to do it. He 
would certainly not have shown this love to 
another human being, had he been forced
to conceive such a love; but with this disposition, 
which, thanks to his reclusive eccentricity, was
fully ripened now, he turned to nature and knew 
how to swallow back his love for every apple
and put it to rest in the painted apple forever.
Can you imagine what that is like, and what
it's like to experience this through him?


~ Rilke on Cezanne













art by Paul Cezanne


Friday, January 18, 2013

love





Love means to learn to look at yourself
The way one looks at distant things
For you are only one thing among many.
And whoever sees that way heals his heart,
Without knowing it, from various ills—
A bird and a tree say to him: Friend.
Then he wants to use himself and things
So that they stand in the glow of ripeness.
It doesn't matter whether he knows what he serves:
Who serves best doesn't always understand.




~ Czeslaw Milosz
translation by Robert Hass
from The Collected Poems
art by Picasso


this bleeding separation




In the school of mind you
learn a lot, and become
a true scholar for many to look up to.
In the school of Love, you become
a child to learn again.

*****

A pious one with a hundred beads on your rosary,
or a drunkard in a tavern,
any gift you bring the Beloved will be accepted
as long as you come in longing.
It is this most secret pain,
this bleeding separation,
which will guide you to your Heart of Hearts.

*****

If you do not give up the crowds
you won't find your way to Oneness.
If you do not drop your self
you won't find your true worth.
If you do not offer all you
have to the Beloved,
you will live this life free of that
pain which makes it worth living.





~ Abu-Said Abil-Kheir
English version by Vraje Abramian
from Nobody, Son of Nobody: 
Poems of Shaikh Abu-Saeed Abil-Kheir
with thanks again to poetry chaikhana


Wednesday, January 16, 2013

soul of the world






Rumi 
version and reading by Coleman Barks 



summoned







And it was at that age... Poetry arrived
in search of me. I don't know, I don't know where
it came from, from winter or a river.
I don't know how or when,
no, they were not voices, they were not
words, nor silence,
but from a street I was summoned,
from the branches of night,
abruptly from the others,
among violent fires
or returning alone,
there I was without a face
and it touched me.

I did not know what to say, my mouth
had no way
with names
my eyes were blind,
and something started in my soul,
fever or forgotten wings,
and I made my own way,
deciphering
that fire
and I wrote the first faint line,
faint, without substance, pure
nonsense,
pure wisdom
of someone who knows nothing,
and suddenly I saw
the heavens
unfastened
and open,
planets,
palpitating planations,
shadow perforated,
riddled
with arrows, fire and flowers,
the winding night, the universe.

And I, infinitesimal being,
drunk with the great starry
void,
likeness, image of
mystery,
I felt myself a pure part
of the abyss,
I wheeled with the stars,
my heart broke free on the open sky.




~ Pablo Neruda
version by Anthony Kerrigan
from Selected Poems
with thanks to poetry chaikhana





how to continue





Oh there once was a woman
and she kept a shop
selling trinkets to tourists
not far from a dock
who came to see what life could be
far back on the island.

And it was always a party there
always different but very nice
New friends to give you advice
or fall in love with you which is nice
and each grew so perfectly from the other
it was a marvel of poetry
and irony

And in this unsafe quarter
much was scary and dirty
but no one seemed to mind
very much
the parties went on from house to house
There were friends and lovers galore
all around the store
There was moonshine in winter
and starshine in summer
and everybody was happy to have discovered
what they discovered

And then one day the ship sailed away
There were no more dreamers just sleepers
in heavy attitudes on the dock
moving as if they knew how
among the trinkets and the souvenirs
the random shops of modern furniture
and a gale came and said
it is time to take all of you away
from the tops of the trees to the little houses
on little paths so startled

And when it became time to go
they none of them would leave without the other
for they said we are all one here
and if one of us goes the other will not go
and the wind whispered it to the stars
the people all got up to go
and looked back on love




~ John Ashbery
from Notes from the Air: Selected Later Poems
with thank again to Lisa at the mark on the wall



Tuesday, January 15, 2013

the eighth elegy







With all its eyes the natural world looks out
into the Open.  Only our eyes are turned
backward, and surround plant, animal, child
like traps, as they emerge into their freedom.
We know what is really out there only from 
the animal's gaze;  for we take the very young
child and force it around, so that it sees
objects - not the Open, which is so
deep in animals' faces.  Free from death.
We, only, can see death; the free animal
has its decline in back of it, forever,
and God in front, and when it moves, it moves
already in eternity, like a fountain.

Never, not for a single day, do we have
before us that pure space into which flowers
endlessly open.  Always there is World
and never Nowhere without the No: that pure
unseparated element which one breathes
without desire and endlessly knows.  A child
may wander there for hours, through the timeless
stillness, may get lost in it and be 
shaken back.  Or someone dies and is it.
For, nearing death, one doesn't see death; but stares
beyond, perhaps with an animal's vast gaze.
Lovers, if the beloved were not there
blocking the view, are close to it, and marvel...
As if by some mistake, it opens for them
behind each other... But neither can move past
the other, and it changes back to World.
Forever turned toward objects, we see in them
the mere reflection of the realm of freedom,
which we have dimmed.  Or when some animal
mutely, serenely, looks us through and through.
That is what fate means: to be opposite,
to be opposite and nothing else, forever.

If the animal moving toward us so securely
in a different direction had our kind of 
consciousness -, it would wrench us around and drag us
along its path.  But it feels its life as boundless,
unfathomable, and without regard
to its own condition: pure, like its outward gaze.
And where we see the future, it sees all time
and itself within all time, forever healed.

Yet in the alert, warm animal there lies
the pain and burden of an enormous sadness.
For it too feels the presence of what often 
overwhelms us: a memory, as if 
the element we keep pressing toward was once
more intimate, more true, and our communion
infinitely tender.  Here all is distance;
there it was breath.  After that first home,
the second seems ambiguous and drafty.

Oh bliss of the tiny creature which remains
forever inside the womb that was its shelter;
joy of the gnat which, still within, leaps up
even at its marriage: for everything is womb.
And look at the half-assurance of the bird,
which knows both inner and outer, from its source,
as if it were the soul of an Etruscan,
flown out of a dead man received inside a space,
but with his reclining image as the lid.
And how bewildered is any womb-born creature
that has to fly.  As if terrified and fleeing
from itself, it zigzags through the air, the way 
a crack runs through a teacup.  So the bat
quivers across the porcelain of evening.

And we: spectators, always, everywhere,
turned toward the world of objects, never outward.
It fills us.  We arrange it.  It breaks down.
We rearrange it, then break down ourselves.
Who has twisted us around like this , so that 
no matter what we do, we are in the posture
of someone going away?  Just as, upon
the farthest hill, which shows him his whole valley
one last time, he turns, stops, lingers -,
so we live here, forever taking leave.



~ Rainer Maria Rilke
from Duino Elegies
photo by shreve stockton



Monday, January 14, 2013

no place





Where you come from is gone, 
where you thought you were going to was never there, 
and where you are is no good unless you can get away from it. 

Where is there a place for you to be? 
No place. 
Nothing outside you can give you any place. 
In yourself right now is all the place you've got.

You needn't look at the sky because 
it's not going to open up and show no place behind it. 

You needn't search for any hole in the ground 
to look through into somewhere else. 

You can't go neither forwards nor backwards 
into your daddy's time nor your children's if you have them. 

In yourself right now is all the place you've got. 
If there was any Fall, look there, 
if there was any Redemption, look there, 
and if you expect any Judgment, look there, 

because they all three will have to be in your time 
and your body and where in your time and your body can they be?




~ Flannery O'Connor
from Wise Blood
art by georgia okeeffe
with thanks to whiskeyriver





the stone of the fruit must break




And a woman spoke, saying, Tell us of Pain. 
And he said: Your pain is the breaking of the shell that encloses your understanding.
Even as the stone of the fruit must break, 
that its heart may stand in the sun, 
so must you know pain. 

And could you keep your heart in wonder at the daily miracles of your life, 
your pain would not seem less wondrous than your joy; 
And you would accept the seasons of your heart, 
even as you have always accepted the seasons that pass over your fields. 
And you would watch with serenity through the winters of your grief. 

Much of your pain is self-chosen. 
It is the bitter potion by which the physician within you heals your sick self. 
Therefore trust the physician, and drink his remedy in silence and tranquility: 

For his hand, though heavy and hard,is guided by the tender hand of the Unseen, 
And the cup he brings, though it burn your lips, has been fashioned of the clay 
which the Potter has moistened with His own sacred tears.



~ Kahlil Gibran
from The Prophet





the first elegy






Who, if I cried out, would hear me among the angels'
hierarchies? and even if one of them pressed me
suddenly against his heart:  I would be consumed 
in that overwhelming existence.  For beauty is nothing
but the beginning of terror, which we still are just able to endure,
and we are so awed because it serenely disdains
to annihilate us.  Every angel is terrifying.

And so I hold myself back and swallow the call-note
of my dark sobbing.  Ah, whom can we ever turn to
in our need?  Not angels, not humans,
and already the knowing animals are aware
that we are not really at home in
our interpreted world.  Perhaps there remains for us
some tree on a hillside, which every day we can take 
into our vision;  there remains for us yesterday's street
and the loyalty of a habit so much at ease
when it stayed with us that it moved in and never left.

Oh and night:  there is night, when a wind full of infinite space 
gnaws at our faces.  Whom would it not remain for - that longed-after,
mildly disillusioning presence, which the solitary heart
so painfully meets.  Is it any less difficult for lovers?
But they keep on using each other to hide their own fate.

Don't you know yet?   Fling the emptiness out of your arms 
into the spaces we breathe;  perhaps the birds
will feel the expanded air with more passionate flying.

Yes - the springtimes needed you.  Often a star
was waiting for you to notice it.  A wave rolled toward you
out of the distant past, or as you walked
under an open window, a violin
yielded itself to your hearing.  All this was mission.
But could you accomplish it?  Weren't you always
distracted by expectation, as if every event
announced a beloved?  (Where can you find a place
to keep her, with all the huge strange thoughts inside you
going and coming and often staying all night.)

But when you feel longing, sing of women in love;
for their famous passion is still not immortal.  Sing
of women abandoned and desolate (you envy them, almost)
who could love so much more purely than those who were gratified.
Begin again and again the never-attainable praising;
remember:  the hero lives on; even his downfall was
merely a pretext for achieving his final birth.
But Nature, spent and exhausted, takes lovers back
into herself, as if there were not enough strength
to create them a second time.  Have you imagined
Gaspara Stampa intensely enough so that any girl
deserted by her beloved might be inspired
by that fierce example of soaring, objectless love
and might say to herself, "Perhaps I can be like her"?
Shouldn't this most ancient of sufferings finally grow
more fruitful for us?  Isn't it time that we lovingly
freed ourselves from the beloved and, quivering, endured:
as the arrow endures the bowstring's tension, so that 
gathered in the snap of release it can be more than
itself.  For there is no place where we can remain.

Voices.  Voices.  Listen, my heart, as only
saints have listened:  until the gigantic call lifted them
off the ground; yet they kept on, impossibly,
kneeling and didn't notice at all:
so complete was their listening.  Not that you could endure
God's voice - far from it.  But listen to the voice of the wind
and the ceaseless message that forms itself out of silence.
It is murmuring toward you now from those who died young.
Didn't their fate, whenever you stepped into a church
in Naples or Rome, quietly come to address you?
Or high up, some eulogy entrusted you with a mission,
as, last year, on the plaque in Santa Maria Formosa.
What they want of me is that I gently remove the appearance
of injustice about their death - which at times
slightly hinders their souls from proceeding onward.

Of course, it is strange to inhabit the earth no longer,
to give up customs one barely had time to learn,
not to see roses and other promising Things
in terms of a human future; no longer to be 
what one was in infinitely anxious hands; to leave 
even one's own first name behind, forgetting it
as easily as a child abandons a broken toy.
Strange to no longer desire one's desires.  Strange
to see meanings that clung together once, floating away
in every direction.  And being dead is hard work
and full of retrieval before one can gradually feel
a trace of eternity. - Though the living are wrong to believe
in the too-sharp distinctions which they themselves have created.
Angels (they say) don't know whether it is the living 
they are moving among, or the dead.  The eternal torrent
whirls all ages along in it, through both realms
forever, and their voices are drowned out in its thunderous roar.

In the end, those who were carried off early no longer need us:
they are weaned from earth's sorrows and joys, as gently as children 
outgrow the soft breasts of their mothers.  But we, who do need
such great mysteries, we for whom grief is so often
the source of our spirit's growth -: could we exist without them?
Is the legend meaningless that tells how, in the lament for Linus,
the daring first notes of song pierced through the barren numbness;
and then in the startled space which a youth as lovely as a god
had suddenly left forever, the Void felt for the first time
that harmony which now enraptures and comforts and helps us.




~ Rainer Maria Rilke
from the  Duino Elegies
translation by Stephen Mitchell