Our origins are hard to find– we turn around, try to unwind the center point of what’s behind– we travel blind, we travel blind.
With roots and branches all entwined, we’re lost in our unconscious mind– remembrance wanders unconfined and recombined, and recombined.
We long for all to be divined, controlled by talismans and signs– but life seems always disinclined to be defined, to be defined.
For Grace at dVerse, a monotetra. I don’t usually write to a specific rhythm, but I enjoyed composing this. I happened also to pick a good rhyming word right off.
I could not find the photos for this art, which I did for one of Jane’s Sunday Strange Microfiction prompts, in 2017, so I don’t have a close up. But here’s the translation of the words.
What to do between the silent secrets of stars? Open the question at the crossroads of memory and your dreams. Chase clouds of deep light. Learn how to become a traveler in the unexplainable. (in any order…)
Just goes to show I’m still writing about the same things. Although in this case I had some help from the collage box Oracle.
“Ecosystems are so similar to human societies—they’re built on relationships. The stronger they are, the more resilient the system.”—Suzanne Simard, Finding the Mother Tree
we keep dividing designating a hierarchy to pull what we share apart
and so each of us is missing parts each of us is incomplete
why do we cling to our separation our isolation who we think we are alone?
the foundation is faltering and still we hold on
collapsing into the deep hole of ourselves
During a presentation Suzanne Simard made, early in her career, about her research into the interrelationships between trees and other species in the forest, and how all were necessary in order for the forest to thrive, she mentioned also the threat to climate from disrupting these systems. “Climate change means nothing in Canada” one of the audience said afterwards.
Well of course it is. Easy is monotonous. Uncomplicated is boring.
What is possible must first be imagined.
Am I looking for the Land of Milk and Honey? Am I waiting for my Ship to Come In? Do I yearn for Promised Lands? Do I search for the Pots of Gold at the Ends of Rainbows?
Do I ask to be One of The Chosen Few?
No. I do not.
Weep at the world.
I am too busy.
Sharpening my oyster knife, so to speak.
Calling to the ocean, sailing on its moontides, seeking kinship on its shore. Culling only what still contains life, nourishment.
Cutting through the shiny exterior. Prying open the closed doors.
To see. What has been kept from me.
Secret, hidden, suppressed, denied.
A pearl or a grain of sand?
You can’t have one without the other.
Jade at dVerse has provided a quote from Zora Neale Hurston from “How Does it Feel to be Colored Me” in World Tomorrow for this week’s prosery: No, I do not weep at the world – I am too busy sharpening my oyster knife.
The Oracle got a makeover from MagneticPoetry.com. It’s going to take getting used to. I used the new “happiness” category. I can use some, after reading the news this morning.
When I saw the Oracle’s message, I immediately thought of Sun Ra, an artist of living, not just music, that my older brother introduced me to when we were teenagers. “Space is the Place” was a title he used for many different pieces of art.
I had titled these birdling collages from my archives “birdlings in space”. The birdlings make me happy no matter where they are.
where is wonder? make time for space alive with possibility– between comes whispering– soon surprise will follow
falls apart becomes its opposite expanding into stories
becomes its opposite days into nights into stories the sun intersecting the moon
days into nights future and past the sun intersecting the moon enlarging the horizon
future and past the surprise of delight enlarging the horizon to leave is to arrive
the surprise of delight mind to eyes to leave is to arrive everywhere
The Kick-About prompt this time was a painting by Brian Rutenberg, Low Dense, above. The colors immediately made me think of Monet, which made me think of the grids I did based on Monet’s work. And so I decided to do a grid.
This is a very intense way to look at art, and I learned a lot from it as I not only did some of Monet’s paintings, but an entire book of other artists for The Sketchbook Project. The subtleties of color are amazing when you look closely at them. Rutenberg clearly has an eye for color.
And my second pantoum for the week. Abstract, like the art.
You can see my work with Monet here and here. And my Sketchbook Project book, Art I Like, here.
that song that your words called into my mind, that song is like a lost world, just images in fragments, suspended like a raincloud without rain, a weight that refuses to dissipate–I can almost feel the memory but it won’t land, it keeps circling through the things that aren’t quite there–like a bird call I can’t locate, disembodied wings hovering invisible inside my head
I realized immediately that I had seen Lotte Reiniger’s work before when I clicked on the link from the Kick-About prompt. It did not surprise me to hear her say, “I could cut out silhouettes almost as soon as I could manage to hold a pair of scissors.” Her work is, yes, “astonishing”.
Me? I never had that dexterity, not even when young. I also don’t work in film, which was Reiniger’s medium. So how to respond to this prompt?
I was going to work with simple bird silhouettes, but was unhappy with the ones I made myself. Once again, I had constructed a 3-D collage environment with cardboard pieces inside a paper bag. I decided to use photos of bird silhouettes, and hang them from strings at the top so they would move.
I used circles to enclose the bird forms so I could put different photos on each side–the images would change when the dangling circles turned.
Using the ceiling fan to create more movement, I began to take photos.
You can read more about Lotte Reiniger here, and see her extensive filmography here,
I recently took the collage above out of the storage room and hung it in my new apartment. It’s based on a painting, Freedom, by Ilya Repin, that Jane Dougherty used back when she was doing writing prompts, and that both she and Merril have returned to numerous times. I liked it so much I did two collages based on it.
I didn’t start out with this idea at all, but as soon as the Oracle pointed to ferocious dancing in the wordlist the entire poem began to reference Repin’s painting. It’s a wonderful painting, full of beautiful messages.
I’m quite sure she isn’t finished sending me back to it either.
laughter’s breath kisses like star-sky
here is a rhythm to embrace
ask the ocean for the secrets of sailing airborn
surrounded by voices that dazzle open magic windows of ferocious dancing into a universe without time
You can see the original posts for each of my above collages here and here.
The streets are quiet, eerie, the walls blank. I remain inside.
My windows are noisy with things I can’t see. I rarely reply to them because the response flies away on the wind, storm tossed and clouded, darkened by rain and the fading light.
What would I say to the ghosts of the children?– the ones not on the playground not on the streets no longer living in an apartment, a house, a country, a land– the ones no one can find anywhere?
How to say the word death and to also shield them from its consequences. How to explain why and how we have come to be
living in this uncertain tangle of lies ignorance violence– a place full of humans unable to even acknowledge or to bridge the rising waters.
The ones who would rather drown than make amends.
Sherry at earthweal has reminded us of all the grief consuming the world, and asks us to write about it. I wrote a version of this poem first in the midst of New York’s early pandemic. I’ve revised it a bit, but the ghosts of the children have not gone away.