Nina, my old friend of 40+ years, and blogmate from methodtwomadness, came into the city with her husband yesterday for a visit and lunch. It’s only the second time we’ve seen each other since the beginning of Covid.
She brought me one of her beautiful paintings. The Oracle knows how much this lifted my spirits. Thanks Nina
is what we can always give– listening with the language of the heart
happy to be
remembering all the rivers of song shared in the between
For POPO 2022 I used postcards with buttons and altered them with text. I sent out the full 31 from my list, plus a few to friends, and received 23 list postcards and 4 from friends. My poems were all in shadorma form, taking clues from the front of the card.
There was a nice assortment of both images and poems. But the best part is making the cards themselves, and each day spontaneously composing a poem for each one, and then putting on the stamp and mailing them.
wandering through lost synapses thought journeys dreamspiral into narratives that end open, unsequenced
you sought 1 special story and after two years of psychic wandering the boy said: 3 is my lucky number—what’s yours?
You can read more about the Poetry Postcard Fest, which takes place in August of every year, here. I’ve already signed up for 2023, but you have until July to register. I highly recommend it.
I submit most months to Visual Verse, and have had many poems published (thank you!). But some I like better than others. This month’s poem, “Night Journey”, is one of them. You can read it here.
My poem “passages”, written to Jo Zider’s artwork, is also up at The Ekphrastic Review. My thanks to guest editor Sandi Stromberg, and to Lorette C. Luzajic for her continued support. You can read it here.
I think the poems complement each other. Which only highlights how I return to the same themes again and again…
I am aged, but still raw, uncooked, unfinished. I steep myself in cinnamon, ginger, nutmeg, preparing for winter. But still I fail to render more than a rough uncertain embodiment of what will satiate my continued thirst. For what? With what mural of flavor do I wish to paint the days, the seasons, the years?
I never expected to find the perfect recipe—only to be somewhat clarified. Not cured, but blended into the essences of a Tuscan sunset, infused with the richness of the bouquet of approaching night.
waiting for the moon– new, it opens the cosmos– full, it whispers “time”
A haibun for Merril’s dVerse prompt of spices. The grids are from a 100-day project I did in 2015 combining colors and grids. In my final post for the project, I included some quotes from poet Sara C. Harwell. This one seems eerily prescient of what I wrote today.
It looks like a painting by someone I can’t remember. How have I reached the point, is it age? When the sky resembles a painting more than the sky?
What exactly do we mean when we say the heart is heavy? Is it our jumbled emotions that are enlarged into enormity, too complicated to lift, to bear? How do we understand the shape, the density, of sorrow?
And what about the light heart? How do we measure the change?–a heart that is nearly full enough to overflow—what space does it occupy, what is its texture?
It’s the heavy heart that is hollow. Brimming with emptiness. Weighed down by absence. The light heart grows gardens, wings.
the heart cleaves, wanders, signifies inverse desires– spring arrives, snowbound
I’ve accumulated quite a bit of Kick-About artwork that I haven’t given a proper post to. This heart drawing was my response to the drumming of Sandy Nelson. I also wanted to use Jane’s Oracle 2 words for the week, and the combination resulted in the accompanying haibun.
The drumming of Sandy Nelson reminded me of heartbeats which can careen wildly under different circumstances. When I looked online for images of hearts, I was attracted to the somewhat psychedelic MRI images. I wanted to work large, but even with 18 x 24 paper, I was unable to do justice to all the different elements of the heart. I made no layout, but just started drawing in the upper center with my colored pencils, a small section each day. So both the line quality and the proportions changed as I went on. Whole sections were expanded, compressed, and left out. Just like the trajectory of the drumming in my mind.
And just like our perceptions as filtered through our hearts.