creative ramblings & reverie

Friday, December 22, 2023

The Days That Must Happen to You

 


“When he died, their father had two requests.  First, that his ashes be taken to the palacio on the river the third week in September, on what would have been his 90th birthday.  And second, that the whole family be there to take part in the scattering.  Or, as he put it in the codicil, quoting his favorite poet, Walt Whitman, and underlining the words twice, ‘These are the days that must happen to you.’

         That second was the sticking point, of course—though he'd cunningly left generous funds with Daniel Kim, his dexterous executor and sandcastling buddy, to cover travel from their various boltholes across the world, and made it clear that only if they carried out that dire last commandment would there be another cent.  But even so, could they forget their rancor, their cherished pet peeves, and tolerate each other's company for three interminable days?” 

 

Thus begins another story inspired by a prompt from The First Line.  (Yes, there are many yet to come!)  This was published yesterday by Eucalyptus Lit, who had this to say:

“Today is the winter solstice: a natural pivot in the seasonal cycle, aligning with our exploration of change in this issue. Allow yourselves to be changed, inspired by the work of the community around us.  Great art is meant to be enjoyed—to be shared—so please feel free to spread the word about our issue to your friends, family, and fellow literature enthusiasts.” 

 

I told them when it was accepted, "It is especially nice to have my story published by you, since eucalyptus has graced much of my life—from the Mills College campus to the foothills around Palo Alto where I spent some thirty years, to the park here in Santa Cruz whose eucalyptus shelters long-traveling Monarch butterflies.”

 

And it was fun to spend some time in the Carmel Valley with this peevish family over three days, along with Walt Whitman, and see where all of us came out.

 

 

 

Image:  Feel Good and Travel, How to Build a Sandcastle

Signature Required

 


Here’s another of my wilder whimsies, a.k.a. "What Should We Do with the Body?", in response to a prompt by The First Line—who (in more sober frame of mind) did not accept it for publication.  It’s been picked up instead by Cerasus Magazine, appropriately situated, as is the story, in England.

 

For those who enjoy whimsy involving Punk rockers, Paladian bridges, Polish chickens, an early Renaissance stiletto, and a stray cassowary (or, indeed, as an editor I once worked with once enthused, for “anyone with an interest in anything”), a paperback copy of Issue #11 can be purchased from Amazon, or the pdf can be downloaded here.

 

I’ve imagined that an ideal film version of this story would star the following:

John Gielgud as old retainer

Ken Stott (Rebus) as Digby

young Stephen Fry or Simon Callow as Aiken

Ian McShane (Lovejoy) or David Jason (Frost) as Man with Clipboard 2

Richard Briers or John Cleese as Lord Ashenden

Bill Nighy as Parson Q

Peter Vaughan as the Major General


But that's just further whimsy, of course . . .

 

 

 

Image:  Palladian Bridge, Prior Park, England

Wednesday, November 15, 2023

A New Biography

 



This will accompany stories now, until further notice—

 

"Christie Cochrell is grateful for the several awards and Pushcart nominations given to her diverse array of published stories and creative nonfiction pieces, and for the favorite places far and near that have inspired her writing.  Chosen as New Mexico Young Poet of the Year while growing up in Santa Fe, she has more recently published a volume of collected poems, Contagious Magic.  She lives on the northern California coast in Santa Cruz, the unceded ancestral homeland of the Awaswas-speaking Uypi Tribe, and honors those who came before."





 


 

 

Image:  Santa Cruz Beach, with Author

Ocean and Black Dog, and Two Waters, Christie Cochrell

Out with Lanterns

 


It makes me so happy to see this long, rambling meditation finally published—and with photos I took (New Mexico, Oxford, Kew Gardens) nicely fitted in by Sybil, making it a true hybrid.  Prose, poetry, and images all mine, and me.  A kind of screenshot of who/where/why I am at this juncture.  Started towards the end of lockdown, when it was dawning on me how stir-crazy I'd become, after so many years of traveling more or less whenever I wanted, and having to worry that I'd never in my life get to travel again; and finished/edited as I was getting ready to travel again (yes, really!) to Santa Fe—time-travel back, for my 50th class reunion.  Getting ready to babble on about (in twenty words or less) what I'd been doing all that time, and where I have come out.

 

So here we are!  

 

The format kind of rambles too, which seems appropriate.

(And I learned after coming home that a Santa Fe friend named Sybil had just passed away—so a tribute of sorts, as well.)

 

One small excerpt from towards the end:

I am still sad, far from England and all the other far places I love, missing my life as Clarice Lispector describes it perfectly—

“I miss everything that marked my life. ... I miss 

the things I lived and the ones I let go. ... 

How many times I want to find I don't know what... 

I don't know where... To rescue something I don't 

know what it is or where I lost it.”

         But I have understood, putting the recent feeling of loss down in words, in the same notebook that now holds the little beach, the cardamom, the dogwalkers, the Sterling Silver “wishy-washy” ink I find today along with letters from Emily Dickinson translated charmingly into Italian, that I’m still me, enduringly, even at this remove.  Still weird as weird can be.  That the whorls of labyrinths, like fingerprints, are uniquely and indelibly mine.




 

 

Images:  On Museum Hill, Christie Cochrell

             Cycladic Figurines, The Ashmolean, Christie Cochrell

Salve Porta

 


The wonderful online journal, The Plentitudes, has again honored me by publishing a story in their Fall issue, “The Clarity”—this, all about doors and what they signified to Emmy Salas.

 

Doorways were fraught.  Portals to the unfathomable place where absence dwells.  The loneliest, most haunted spaces in the world.  They swallowed people whole.  Emmy had lived with a phobia of doors—entamaphobia—much of her life, having watched too many of her loved ones vanish through what Rilke in one of his Sonnets to Orpheus called “the inconsolable open door.”

 

Other elements in this story, “Salve Porta,” include Mesa Verde and Aztec Ruins, Willa Cather’s novel The Professor’s House, Hitchcock’s The Lady Vanishes, and a black Skye terrier, Pautiwa, named for one of the Hopi sky gods.




 



 

Images:

Aztec doorways, photographer unknown

Gates of Heaven, Bali, photographer unknown

Pisa light, Christie Cochrell


Tuesday, October 3, 2023

Writing Spaces: The Gap

 


The empty space which dwells now where the tree once was—the haunted space, uneasy with recriminations and with dread, heavy with loss, mourning, fraught with remembered days and skies and moods, passing seasons, passing travelers, hopes past, love holding on, but just—exactly there, we enter into the sacred, echoing precincts of writing.

 

"The tree was so old, and stood there so alone, that his childish heart had been filled with compassion; if no one else on the farm gave it a thought, he would at least do his best to, even though he suspected that his child’s words and child’s deeds didn’t make much difference. It had stood there before he was born, and would be standing there after he was dead, but perhaps, even so, it was pleased that he stroked its bark every time he passed, and sometimes, when he was sure he wasn’t observed, even pressed his cheek against it."

—Karl Ove KnausgÃ¥rd, from A Time for Everything

 

Said to be 300 years old, this famous tree was cut down with a chainsaw by a vandal on 28 September, 2023.  RIP compassion and love and gentleness.


 

 

image:  Sycamore Gap, The Fabulous North

Sunday, October 1, 2023

Writing Spaces: October


Spaces between . . . summer and fall (rising, falling), the light and dark, the trees and their deep (soaring) clarity- and mystery-laden interstices . . .  Places in which the writer gladly dwells.



 

image:  Helena Miozga/ChingYang Tung