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?
They had collapsed into an empty cave of nowness, replacing a past of empyrean wonder with the unceasing presence of burning flesh, condemning the contagious and aliferous joy of birds to smoke-filled air hanging heavy over stone landscapes that had lost all green. What they called life, the promise of continuity, was at an impasse.
They had forgotten to build an ark.
They had forgotten to build an ark, and so they were left standing between a raging wall of flame and an infestation of endlessly rising waters. A fierce susurrus rose from the spirits of the ancestors–an oddly wordless murmur riding on the howling wind, carrying the silent but distinct rattle of bones.
what happens when where we were going is gone?–crows seize the winter sky
For earthweal, where Brendan asked us to fill your poem’s sails with a blast of something akin to the hurl of atmospheric plumes, and dVerse, where Mish has given us a list of uncommon words to incorporate in our poem. I’ve also taken inspiration from Jane’s Oracle 2 wordlist.
The sea gathers me in, keeps me between, a creature of neither water nor land, held forever inside spirals of moontides, echoing back into what is neither mine nor self.
Around and around the waves spin me along the path of an immense Möbius loop. I oscillate on the edge, barely there, beyond human sensing.
Deeper, extended, enhanced. I am in need of rendering. I am in need of being opened until the stars wrap around my core, untill all of me is whispered into music like light.
I absorb the flickering of images—felt but unseen, channeled within each breath, ungraspable. Always this interpolation, this blurring of what lies beyond as it merges into the finity of my body. Through the deep caves of thought I hear a voice that sings me into the place where my boundaries fall into the cosmic abyss.
For the dVerse prosery where Lisa has given us a quote from Oliver Wendell Holmes:
Through the deep caves of thought I hear a voice that sings:— –from The Chambered Nautilus
If I could see horizon’s light at first dawn, Venus would greet me shining up the rising sun. But I live in darkness, almost-full moon suffused with secrets, luminous, surprising me–reflecting through my window, later, soon– casting shadowed leaves that shift, mesmerizing, absorbed in Van Morrison’s musical dance– hazy as to borderlines, transformed, entranced. Perhaps Diana orbits inside my dreams– I almost catch her in the wavering beams– and following the fragments, drift—caught between.
An eleventh power poem for the prompt offered by Grace for the dVerse 11th anniversary celebration, also in answer to this week’s W3 challenge, a response to Steven S. Wallace and his poem “Oh Luna” that contains three proper nouns.
but there is always another side– the one that is in our face seems real because we see it—the details, the form of its existence– but what of the side we do not see, what of the one that looks in a different direction? the one not evident, not the same? the one we must be careful not to leave behind?
As usual, Brendan at earthweal gave me a lot to think about in this week’s challenge post. His question–What does it meant to be open, unbounded, united and free in an enclosed world?–made me immediately think of this verse Woody Guthrie wrote in “This Land is Your Land”.
As I went walking I saw a sign there And on the sign it said “No Trespassing” But on the other side it didn’t say nothing That side was made for you and me
Before me the world is clarified by a luminosity that consolidates all presence into chords of stillness. What song would this landscape sing?
Just a little green– color disappears into the air, glimmers in still lines across the meadow.
Like the color when the spring is born— the quiet is dizzying, embracing. All is solitary, complete. Waiting. For what?
The nights when the Northern lights perform— the hour is transfixed inside a secret whisper of pulsing breath. An alternate world, muted, mysterious, not quite real.
And sometimes there’ll be sorrow—shrouded in uncertainty, time has lost its focus. The land is primordial, inscribed with a narrative that has no translation into any language we are capable of understanding.
Just a little green—a vessel immersed in air, from the bottom up
earthwalkers– exchanging wonder there will be
italicized lines are from Joni Mitchell’s song Little Green
Merril supplied five paintings as ekphrastic summer inspiration at dVerse this week. I chose Carl Zimmerman’s painting, above. Since I’m late, I’m posting on OLN, hosted by Bjorn.
Also linking to earthweal, where Sherry supplied the prompt of dreaming in green. A good color to dream in.