and blue glass sings in my palm, the sky engraved with vowel and wing, so much to hear, our bodies speaking across great plains of air. soon beneath moons, we’ll murmur something: me, on love as a rift of stars, of broken pieces i once thought the earth waves past. and this little junco? nothing i could guess to know.
First, there is the necessary quiet of close grass, of fallen rodent, belly up in the path of your wanting. This morning, all you loved disappeared, ghosts you’ve kept in your palms, the tip of your tongue. Now you stoop to the wide paths reckless others have shoe-ed into the mud. Above the flooded salt quarry, a woman hugs her knees. She will not waver in the hour you walk the wide lake, peering one-eyed for heron through your lens. Then, nothing, until you are back at the beginning, the water of a blue reservoir you had long forgotten spilling out of a pipe at your feet, water so quiet, you think, this is why the birds rush in. A heron hugs the lakeshore; a heron balances on the gray curves of a tree fallen so many years ago that it floats upon the water’s light. Long-necked, short-necked, the heron wait for the sun. Their feathers are the light hairs of moss the wind tassels. Why do you wait at the edge of the water, the camera heavy in your cold hands, waiting for cloud, for sun, for the stretch of wing, the long dangling feet of departure? A quick moment and the heron sheds a bit of itself, just one color the camera opens its eye for, then shuts: a blue shade gripping the half-cave of a tree that keeps trying to bury itself. Soon you will drive home. Soon you will cook, sit by a fire, prop your camera at the table’s edge to see what you have taken.
Forget roadside crossings.
Go nowhere with guns.
Go elsewhere your own way,
lonely and wanting. Or
stay and be early:
next to deep woods
inhabit old orchards.
All clearings promise.
Sunrise is good,
and fog before sun.
Expect nothing always;
find your luck slowly.
Wait out the windfall.
Take your good time
to learn to read ferns;
make like a turtle:
downhill toward slow water.
Instructed by heron,
drink the pure silence.
Be compassed by wind.
If you quiver like aspen
trust your quick nature:
let your ear teach you
which way to listen.
You've come to assume
protective color; now
colors reform to
new shapes in your eye.
You've learned by now
to wait without waiting;
as if it were dusk
look into light falling:
in deep relief
things even out. Be
careless of nothing. See
what you see.
Last year, we had twin fawns here.
Thanks to Poets.org for its everlasting beautiful poems.
I finally got down to see the Sandhill Crane migration through Monte Vista and the San Luis Valley. Watching and hearing hundreds of cranes rush past in great waves overhead reminded me of the swans in William Butler Yeats’ beautiful poem, The Wild Swans at Coole, which “scatter wheeling in great broken rings/Upon their clamorous wings.” And I feel too the sadness of this passing year. For how many of us has all changed?
The Wild Swans at Coole
The trees are in their autumn beauty, The woodland paths are dry, Under the October twilight the water Mirrors a still sky; Upon the brimming water among the stones Are nine-and-fifty swans.
The nineteenth autumn has come upon me Since I first made my count; I saw, before I had well finished, All suddenly mount And scatter wheeling in great broken rings Upon their clamorous wings.
I have looked upon those brilliant creatures, And now my heart is sore. All’s changed since I, hearing at twilight, The first time on this shore, The bell-beat of their wings above my head, Trod with a lighter tread.
Unwearied still, lover by lover, They paddle in the cold Companionable streams or climb the air; Their hearts have not grown old; Passion or conquest, wander where they will, Attend upon them still.
But now they drift on the still water, Mysterious, beautiful; Among what rushes will they build, By what lake’s edge or pool Delight men’s eyes when I awake some day To find they have flown away?
I am thinking of the hand I found in Indiana, epicenter of this naturalist soul-to-be. I was ten, younger, when I found the hand, laid it to rest in what I called the “dead box” we found in an ancient trunk in the loft of that massive red barn on the hillside where I watched cattle slain and ponies bred.
I was walking the fence line. It was summer. Dry weeds crumpled to dust along the foot and cow paths. And then I saw it. The hand on the ground. A perfect bone of a hand. A fairy hand.
Fifty-one years I have kept the dead box and the hand and everything else I have found. Years and years, in writing workshops, I have handed out each object to a stranger, never wondering why I trusted these beautiful things from the world past with people I did not know. But always there is this giving back and forth — those who share my awe silent over the changed deserts of their linoleum desks. I am always astounded how poetry starts anywhere and takes you everywhere.
Bird’s nest so perfect so round woven of mane and tail hair from my childhood ponies. Owl pellet and yellow mouse teeth and white bird claw and, oh, the mollusk shell open-mouthed where a petrified snail curled inside. And all the pale shells of blue and speckled dust I’ve lost and that Indiana flint with yellow crystal I found near the creek I barely remember now except a bulldozer tore that day its red dirt. And here the chrysalis from my father’s pond attached to a twig since I was the girl I will never be again– what I swing and tremble until it lives.
Poet Patricia Dubrava, in her blog, Holding the Light, posted a wonderful poem and poetry prompt and that’s what got me going! Hearing the Canadas.
My poetry chapbook, Flying Beneath the Dog Star: Poems from a Pandemic, will be published this spring by Finishing Line press. Just received the contract. More as I know it.
I just learned this week that my one and only chapbook, Flying Beneath the Dog Star: Poems from a Pandemic, will be published by Finishing Line Press as a semi-finalist for its Open Chapbook Competition 2020.
I wrote Flying Beneath the Dog Star in the first spring of our pandemic during National Poetry Month, using many of the poetry prompts offered by NaPoWriMo (napowrimo.net). These poems, written on the front porch of my cabin, are my journey through this strange and unknown world we are still living in. Who knew when I sought solace at 9600 ft amidst the birds in my little spot above the Arkansas Valley, grieving over the deaths of eighteen hundred, that almost a year later we would have buried almost a half million in this country alone, including my mother, my aunt, and my uncle?
Finishing Line Press received 402 entries and will publish the 14 poets who make up the list winner, shortlist finalists, and semifinalists. Congratulations to the fine poet, Maura Stanton, who won the competition for her chapbook, Interiors, and to all the other first rate women poets I will share this new journey with. And thank you to my sister, who was my inspiration for writing these poems that I hoped she would love, too.
I will share this publication journey as it continues to unfold. You can find the (almost) title poem of my chapbook at Kingsview & Co, published by the lovely Michael A. King, editor: To the Three Ducks Flying Beneath the Dog Star. Other poems in the chapbook (and a few of my bird photos) will appear shortly in the Raw Earth Ink poetry and art collection, Creation and the Cosmos: A Poetic Anthology Inspired by Nature.
Each winter until, finally,
barely spring, the black
angus cows returned
to graze the fields we rented
to our neighbor, to drift through our high
mountain meadows past glory
holes and the half-buried
barbed wire a homesteader
nailed a hundred years
ago to the trees. All month,
I have missed them, though
perhaps in the springs past
that we’ve had of days and days
of solitary jays and the tiny
mouse skulls that I pocket
to hold tenderly in my hand
and show you, this day is still
only the day before the day
of their coming, the day before
they will once again wander
up ancient paths, their hooves
chipping at the old cow pies
that our dogs, ash now, rolled in.
This spring, I think, far
into mid- summer, I will wish
for them, for their calves sleeping
midday in old winter
grass, tucked so quietly in
as if they were a dark blossoming
before the evening’s dream:
the earth returning everything
to us now, perhaps musky
and heavy with its clustered yarrow
and its blue harebells of grief,
One of the surprises, soul-saving surprises, of this pandemic has been the creativity and generosity of care shown by so many, including the artists and writers of this world. The Gatherings Project is the brainstorm of artist Lynda Lowe: 56 boxes painted by professional artists and then sent out into the world to see what gifts they would gather. The boxes have now been sold and the profits donated to arts funding organization/s with well-established relief funds for creatives. Here’s the story of one box.
A few weeks ago at the Arvada Center, my friend Trine Bumiller handed me a cardboard shipping box tucked into a ragged shopping bag. Inside that box was a beautiful gold-painted wooden box with an orchid (erotic, as Trine described it) by the painter Fred Lisaius
And inside that golden box was Trine’s delicate rendering of a pine tree, inspired, I think, by her current gallery exhibit in Alaska, In Memoriam
And a poem by the poet Todd Davis about his mother in a memory care unit.
And I could add anything I wanted to continue this cycle of receiving and giving during this isolation of a pandemic. And so I did from the poems and photos I’ve been taking during this pandemic. Here, the swallows I watch along the old gravel pits by the South Platte River.
There’s something truly beautiful about artist and writers collaborating to bring some solace and support in a time of sadness for so many. See all the Gatherings beautiful boxes. And go to the Arvada Center to see the inspiring Pink Progressions: Collaborations exhibit of paintings, poetry, sculpture, installations, videos, and performance celebrating the 100th anniversary of the passing of the 19th amendment.