image: Kwaidan, Masaki Kobayashi
poetry&prose
creative ramblings & reverie
Appeal
I summon the comet back,
tail oh so long, splendid and glad
as a cathedral train
sweeping along behind the bride
at the wedding of light to light,
attended by Venus
and a cohort of lucent stars
there in the western sky
above the skeleton of the gray whale;
summon those owls of summer
haunting the interstices
of Shakespeare’s soliloquies,
frisky or fateful murmurs
in the hallowed grove, there on
the unceded ancestral homeland
of the Awaswas-speaking Uypi Tribe.
I persuade the traces
of the driftwood labyrinth
drawn in remembrance
on our little sandy beach
to tarry one more day
here on this shore,
on the uneasy limen of winter
and the onerous year beyond.
A line or two of it’s rewritten every night
by the kleptic November waves,
exacting this and that,
but I bid what stray sticks and branches
of the whole circle are still in place
and can be paid homage by my bare feet
to stay a little longer within reach
in their steadying dignity,
in their contemplative orbit.
Inspiration. Heartsease.
Sometimes, I think, all that
can possibly save us.
image: Christie B. Cochrell
How I go to the woods
Ordinarily, I go to the woods alone, with not a single
friend, for they are all smilers and talkers and therefore
unsuitable.
I don’t really want to be witnessed talking to the catbirds
or hugging the old black oak tree. I have my way of
praying, as you no doubt have yours.
Besides, when I am alone I can become invisible. I can sit
on the top of a dune as motionless as an uprise of weeds,
until the foxes run by unconcerned. I can hear the almost
unhearable sound of the roses singing.
If you have ever gone to the woods with me, I must love
you very much.
—Mary Oliver
image: John Stoehrer, Girl Writing Outdoors
A possibility of getting away . . .
whether to or from. Words
as escape and restoration, both,
the means (or place) of finding
a still center, still, a plumb line
fashioned from that line of text,
or alternately a good sturdy paragraph
laid down into a temporary bridge
from shore to open water, ripples, drift,
impatient embarkation point for some
exultant odyssey, no land in sight,
or maybe a fine panoply of turrets
off on the horizon, shimmering
with silken banners, clarinets and horns.
Passages read, waterbound passages
to becoming demesnes—
contiguous and oh so far,
foreign and achingly familiar,
ours.
image: Getty Images, Noel Hendrickson
TEA
In tea leaves
I read my fortune,
journeys past
and yet to come.
Orange pekoe
was my grandmother,
dawn leavetakings
from Flagstaff, trains passing
in the lonely hours of the night.
Against those departures,
a comforting circle
of yellow lamplight, tea,
which reassures me even now.
Lapsang Souchong, my father
called Old Indian Moccasins,
smoky and exotic
as the Old Prospector’s Shop
where in my teens I bought
crepe paper flowers
from somewhere in Mexico,
holding within themselves,
their folds, whispered and deep,
a whiff of copper, the bewitching
smell of unaccustomed distances.
In Hawaii we learned
the almost sacramental genmai cha,
green tea with toasted rice,
shared from a sly-lipped pot
with our kupuna friends
in the big airy dining room
of the rustic hotel near Captain Cook,
with wooden walls and floors
and those friendly old screens
welcoming ocean breezes in.
At Tassajara, in its far valley,
peppermint tea, delicious, iced,
after waking at dawn to running bells,
rising to walk down soft footpaths
to the bath house, still half asleep,
and sit in one of the hot springs
under a bough of pine, moon fading
to a watermark as daylight takes the sky,
while others chant in the zendo
and in the kitchen bread is baking—
seeded, rounded, full.
At the long-vanished teahouse
on one of old Palo Alto’s downtown streets,
in a warren of galleries and bookstores
and the futon shop, Earl Gray
and finger sandwiches, its fragrance
telling of the past and things to come.
A moment of quiet reflection before
stepping out the door again to go on
shopping for my best friend’s wedding dress.
And finally,
at The Teahouse on Canyon Road,
back home, yet not, never again,
plum cinnamon or pepper berry—
fragrant teas, far too many to try.
For I am out of time.
Mornings, walking the labyrinth
barefoot, time and again, before
heading on to the hospital.
Needing the tea for the solace
it’s always offered in the past.
Having this time to pour it
out myself, drink it alone.
images:
Pierre Bonnard, Breakfast or Lunch
WWII teacup, Etsy
Japanese teapot, Oitomi
A Reader Lives teacup, saucer, and spoon
James Merrill wrote in his memoir, A Different Person (1993), about visiting a doctor about his depression, saying that he didn't know how to live or how to love, he just knew how to write a poem. The doctor, he said, "listened closely, then acted with undreamed-of kindness and dispatch. 'Come with me,' he said, in a flash ushering me out of his downtown office and onto the back seat of a smart little pale-green motorscooter. I put my arms, as instructed, about his stout, gray-suited person, and off we went in sunlight, through traffic, under trees, past architecture, over the muddy river to lunch." (The Writer’s Almanac, 3/3/3)Our hope is that this collection of writing will give readers the same je ne sais quois that brief but immense lunchtime voyage gave us—encouragement for going on; inspiration to do something simply good for ourselves each ordinary day; a smile; a moment of respite or recognition; time out from global numbing; a pause for weirdness, wonder, and delight. We want to share what gives us pleasure or some keener satisfaction putting down as well as picking up.