whiskey river Fridays

Travels

September 18, 2009 by John 9 Comments

The Way It Is

There’s a thread you follow. It goes
among
things that change. But it doesn’t
change.
People wonder about what you are
pursuing.
You have to explain about the thread.
But it is hard for others to see.
While you hold it you can’t get lost.
Tragedies happen; people get hurt
or die; and you suffer and get old.
Nothing you do can stop time’s
unfolding.
You don’t ever let go of the thread.

(William Stafford [source])

…and:

May your trails be crooked, lonesome, dangerous, leading to the most amazing view. May your mountains rise into and above the clouds, may your rivers flow without end, meandering through pastoral valleys tinkling with bells, past temples and castles and poets towers into a dark primeval forest where tigers belch and monkeys howl, through miasmal and mysterious swamps and down into a desert of red rock, blue mesas, domes and pinnacles and grottos of endless stone, and down again into a deep vast ancient unknown chasm where bars of sunlight blaze on profiled cliffs, where deer walk across the white sand beaches, where storms come and go as lightning clangs upon the high crags, where something more beautiful and more full of wonder than your deepest dreams waits for you — beyond that next turning of the canyon walls.

(Edward Abbey, “A Prayer for the Traveler” [apparently not a title Abbey himself used: source])

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On the Inside, Looking In

September 11, 2009 by John 13 Comments

From whiskey river (italicized portion):

Messenger

My work is loving the world.
Here the sunflowers, there the hummingbird —
equal seekers of sweetness.
Here the quickening yeast; there the blue plums.
Here the clam deep in the speckled sand.

Are my boots old? Is my coat torn?
Am I no longer young, and still not half-perfect? Let me
keep my mind on what matters,
which is my work,

which is mostly standing still and learning to be
astonished.
The phoebe, the delphinium.
The sheep in the pasture, and the pasture.
Which is mostly rejoicing, since all ingredients are here,

which is gratitude, to be given a mind and a heart
and these body-clothes,
a mouth with which to give shouts of joy
to the moth and the wren, to the sleepy dug-up clam,
telling them all, over and over, how it is
that we live forever.

(Mary Oliver [source])

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[Caption: “I want you to start thinking good thoughts about someone new at our house. I want you to start thinking good thoughts about a pussy cat.” Cartoon by George Booth, from his 1975 collection, Think Good Thoughts About a Pussy Cat.]

From whiskey river’s commonplace book:

Sojourns in the Parallel World

We live our lives of human passions,
cruelties, dreams, concepts,
crimes and the exercise of virtue
in and beside a world devoid
of our preoccupations, free
from apprehension — though affected,
certainly, by our actions. A world
parallel to our own though overlapping.
We call it “Nature”; only reluctantly
admitting ourselves to be “Nature” too.
Whenever we lose track of our own obsessions,
our self-concerns, because we drift for a minute,
an hour even, of pure (almost pure)
response to that insouciant life:
cloud, bird, fox, the flow of light, the dancing
pilgrimage of water, vast stillness
of spellbound ephemerae on a lit windowpane,
animal voices, mineral hum, wind
conversing with rain, ocean with rock, stuttering
of fire to coal — then something tethered
in us, hobbled like a donkey on its patch
of gnawed grass and thistles, breaks free.
No one discovers
just where we’ve been, when we’re caught up again
into our own sphere (where we must
return, indeed, to evolve our destinies)
— but we have changed, a little.

(Denise Levertov [source])

…and:

Things to Think

Think in ways you’ve never thought before
If the phone rings, think of it as carrying a message
Larger than anything you’ve ever heard,
Vaster than a hundred lines of Yeats.

Think that someone may bring a bear to your door,
Maybe wounded and deranged; or think that a moose
Has risen out of the lake, and he’s carrying on his antlers
A child of your own whom you’ve never seen.

When someone knocks on the door, think that he’s about
To give you something large: tell you you’re forgiven,
Or that it’s not necessary to work all the time, or that it’s
Been decided that if you lie down no one will die.

(Robert Bly [source])

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Hauntings

August 28, 2009 by John 11 Comments

From whiskey river (first stanza):

Childhood Is the Kingdom Where Nobody Dies

Childhood is not from birth to a certain age and at a certain age
The child is grown, and puts away childish things.
Childhood is the kingdom where nobody dies.

Nobody that matters, that is. Distant relatives of course
Die, whom one never has seen or has seen for an hour,
And they gave one candy in a pink-and-green stripèd bag,
or a jack-knife,
And went away, and cannot really be said to have lived at all.

And cats die. They lie on the floor and lash their tails,
And their reticent fur is suddenly all in motion
With fleas that one never knew were there,
Polished and brown, knowing all there is to know,
Trekking off into the living world.
You fetch a shoe-box, but it’s much too small, because she won’t
curl up now:
So you find a bigger box, and bury her in the yard, and weep.

But you do not wake up a month from then, two months,
A year from then, two years, in the middle of the night
And weep, with your knuckles in your mouth, and say Oh,
God! Oh, God!
Childhood is the kingdom where nobody dies that matters, —
mothers and fathers don’t die.

And if you have said, “For heaven’s sake, must you always be
kissing a person?”
Or, “I do wish to gracious you’d stop tapping on the window
with your thimble!”
Tomorrow, or even the day after tomorrow if you’re busy
having fun,
Is plenty of time to say, “I’m sorry, mother.”

To be grown up is to sit at the table with people who have died,
who neither listen nor speak;
Who do not drink their tea, though they always said
Tea was such a comfort.

Run down into the cellar and bring up the last jar of raspberries;
they are not tempted.
Flatter them, ask them what was it they said exactly
That time, to the bishop, or to the overseer, or to Mrs. Mason;
They are not taken in.
Shout at them, get red in the face, rise,
Drag them up out of their chairs by their stiff shoulders and shake
them and yell at them;
They are not startled, they are not even embarrassed; they slide
back into their chairs.

Your tea is cold now.
You drink it standing up,
And leave the house.

(Edna St. Vincent Millay)

…and:

How I Became a Ghost

It was all about objects, their objections
expressed through a certain solidity.

My house for example still moves
through me, moves me.
When I tried to reverse the process
I kept dropping things, kept finding myself
in the basement.

Windows became more than
usually problematic.
I wanted to break them
which didn’t work, though for awhile

I had more success with the lake.

The phone worked for a long time
though when I answered
often nobody was there.

Bats crashed into me at night,
but then didn’t anymore.

The rings vanished from my hand,
the pond.

I stopped feeling the wind.

One day the closets were empty.

Another day the mirrors were.

(Leslie Harrison [source])

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Sleeping, Waking, and Grimmer Things

August 21, 2009 by John 2 Comments

From whiskey river:

Waking at 3 a.m.

Even in the cave of the night when you
wake and are free and lonely,
neglected by others, discarded, loved only
by what doesn’t matter — even in that
big room no one can see,
you push with your eyes till forever
comes in its twisted figure eight
and lies down in your head.

You think water in the river;
you think slower than the tide in
the grain of the wood; you become
a secret storehouse that saves the country,
so open and foolish and empty.

You look over all that the darkness
ripples across. More than has ever
been found comforts you. You open your
eyes in a vault that unlocks as fast
and as far as your thought can run.
A great snug wall goes around everything,
has always been there, will always
remain. It is a good world to be
lost in. It comforts you. It is
all right. And you sleep.

(William Stafford [source])

…and:

And if awakening is also already present, inescapably and everywhere present from the beginning, how can the emotions not be part of that singing life of grasses and fish and oil tankers and subways and cats in heat who wake us, furious and smiling, in the middle of the brief summer night?

(Jane Hirshfield)

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Surprises in Store

August 7, 2009 by John 11 Comments

From whiskey river:

For My Young Friends Who Are Afraid

There is a country to cross you will
find in the corner of your eye, in
the quick slip of your foot — air far
down, a snap that might have caught.
And maybe for you, for me, a high, passing
voice that finds its way by being
afraid. That country is there, for us,
carried as it is crossed. What you fear
will not go away: it will take you into
yourself and bless you and keep you.
That’s the world, and we all live there.

(William Stafford [source])

…and:

So strange, life is. Why people do not go around in a continual state of surprise is beyond me.

(William Maxwell)

…and:

Life is mostly froth and bubble,
Two things stand like stone,
KINDNESS in another’s trouble,
COURAGE in your own.

(Adam Lindsay Gordon [source])

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Stories in the Trees

July 10, 2009 by John 8 Comments

[The artwork above comes from a fantastic — fantastically rich, but also just literally fantastic — Web site called The Hermitage, from the mind and imagination of artist Rima Staines. She and her companion Tui seem to have a life straight out of fiction, as you can see from her blog. Check out their “wandering house,” which is to a motor home as a cottage is to an office, and her handmade clocks (!).]

From whiskey river:

Generations

Our stories lie down in the orchard,
their time is not now, but something is
coming, something is going away. They

rise to the stars, and wait to be told.
There are listeners who know how little
we know, how much we are feeling.

We had to go our own way, a little off course,
always, no matter how specific the directions
seemed at the time. In this universe if we’re lucky,

we will live in our children’s stories,
their tales that will turn us to legend,
some absurd truth that has nothing to do

with our plans, our meticulous records.
No matter what stories we discard or keep,
they will give us a life we cannot imagine.

(Jeanne Lohmann, from The Light of Invisible Bodies [source])

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Sublime

June 26, 2009 by John 5 Comments

From whiskey river (last two stanzas):

The American Sublime

How does one stand
To behold the sublime,
To confront the mockers,
The mickey mockers
And plated pairs?

When General Jackson
Posed for his statue
He knew how one feels.
Shall a man go barefoot
blinking and blank?

But how does one feel?
One grows used to the weather,
The landscape and that;
And the sublime comes down
To the spirit itself,

The spirit and space,
The empty spirit
In vacant space.
What wine does one drink?
What bread does one eat?

(Wallace Stevens)

Not from whiskey river, a reading of the above poem by Ken Worsley of Trans-Pacific Radio (over Ball and Biscuit by the White Stripes, as a background track):

(You might also be interested in reading Worsley’s account of how he came to read the poem this way, over this background music. That page is where I found the above podcast.)

Over the past week, whiskey river also cited a poem called, there, “Changing Places.” But, well, there isn’t any such poem in Rilke’s work*; it’s actually an excerpt from the start of his Ninth Elegy. In one translator’s version, from 1977 (and regardless of the title or the translation, yes, sublime):

Why, when this short span of being could be spent
like the laurel, a little darker than all
the other green, the edge of each leaf fluted
with small waves (like the wind’s smile) — why,
then, do we have to be human and, avoiding fate,
long for fate?

Oh, not because happiness,
that quick profit of impending loss, really exists.
Not out of curiosity, not just to exercise the heart
— that could be in the laurel, too…

But because being here means so much, and because all
that’s here, vanishing so quickly, seems to need us
and strangely concerns us. Us, to the first to vanish.
Once each, only once. Once and no more. And us too,
once. Never again. But to have been
once, even if only once,
to have been on earth just once — that’s irrevocable.

(Rainer Maria Rilke, translated by A. Poulin [source])

Now, something not from whiskey river…

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Writing and Silence

June 19, 2009 by John 4 Comments

From whiskey river:

Learn how to meditate on paper. Drawing and writing are forms of meditation. Learn how to contemplate works of art. Learn how to pray in the streets or in the country. Know how to meditate not only when you have a book in your hand but when you are waiting for a bus or riding in a train.

(Thomas Merton, Illusory Flowers in an Empty Sky)

Not from whiskey river:

Silence

I have known the silence of the stars and of the sea,
And the silence of the city when it pauses,
And the silence of a man and a maid,
And the silence of the sick
When their eyes roam about the room.
And I ask: For the depths,
Of what use is language?
A beast of the field moans a few times
When death takes its young.
And we are voiceless in the presence of realities —
We cannot speak.

A curious boy asks an old soldier
Sitting in front of the grocery store,
“How did you lose your leg?”
And the old soldier is struck with silence,
Or his mind flies away
Because he cannot concentrate it on Gettysburg.
It comes back jocosely
And he says, “A bear bit it off.”
And the boy wonders, while the old soldier
Dumbly, feebly lives over
The flashes of guns, the thunder of cannon,
The shrieks of the slain,
And himself lying on the ground,
And the hospital surgeons, the knives,
And the long days in bed.
But if he could describe it all
He would be an artist.
But if he were an artist there would be deeper wounds
Which he could not describe.

There is the silence of a great hatred,
And the silence of a great love,
And the silence of an embittered friendship.
There is the silence of a spiritual crisis,
Through which your soul, exquisitely tortured,
Comes with visions not to be uttered
Into a realm of higher life.
There is the silence of defeat.
There is the silence of those unjustly punished;
And the silence of the dying whose hand
Suddenly grips yours.
There is the silence between father and son,
When the father cannot explain his life,
Even though he be misunderstood for it.

There is the silence that comes between husband and wife.
There is the silence of those who have failed;
And the vast silence that covers
Broken nations and vanquished leaders.
There is the silence of Lincoln,
Thinking of the poverty of his youth.
And the silence of Napoleon
After Waterloo.
And the silence of Jeanne d’Arc
Saying amid the flames, “Blesséd Jesus” —
Revealing in two words all sorrows, all hope.
And there is the silence of age,
Too full of wisdom for the tongue to utter it
In words intelligible to those who have not lived
The great range of life.

And there is the silence of the dead.
If we who are in life cannot speak
Of profound experiences,
Why do you marvel that the dead
Do not tell you of death?
Their silence shall be interpreted
As we approach them.

(by Edgar Lee Masters, about whom I first wrote not quite a year ago)

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Breaking It Down

June 12, 2009 by John 6 Comments

From whiskey river:

The states of mind or feelings that art can excite have been helpfully distinguished in Sanskrit aesthetics, where they are called rasas, from a word meaning “juice” or “essence”. A fully achieved work of art should flow with all nine of them: their names might be transposed into English as wonder, joy, sexual pleasure, pity, anguish, anger, terror, disgust and laughter.

(Marina Warner, Monsters of Our Own Making [source])

Not from whiskey river:

Naming of Parts

To-day we have naming of parts. Yesterday,
We had daily cleaning. And to-morrow morning,
We shall have what to do after firing. But to-day,
To-day we have naming of parts. Japonica
Glistens like coral in all of the neighboring gardens,
And to-day we have naming of parts.

This is the lower sling swivel. And this
Is the upper sling swivel, whose use you will see,
When you are given your slings. And this is the piling swivel,
Which in your case you have not got. The branches
Hold in the gardens their silent, eloquent gestures,
Which in our case we have not got.

This is the safety-catch, which is always released
With an easy flick of the thumb. And please do not let me
See anyone using his finger. You can do it quite easy
If you have any strength in your thumb. The blossoms
Are fragile and motionless, never letting anyone see
Any of them using their finger.

And this you can see is the bolt. The purpose of this
Is to open the breech, as you see. We can slide it
Rapidly backwards and forwards: we call this
Easing the spring. And rapidly backwards and forwards
The early bees are assaulting and fumbling the flowers:
They call it easing the Spring.

They call it easing the Spring: it is perfectly easy
If you have any strength in your thumb: like the bolt,
And the breech, and the cocking-piece, and the point of balance,
Which in our case we have not got; and the almond-blossom
Silent in all of the gardens and the bees going backwards and
forwards,
For to-day we have naming of parts.

(Henry Reed, from Lessons of the War [source]; see an excellent film interpretation of the poem here.)

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