SUMMONS AND SORROW

On scattered reservations, a few elders rise before dawn each day and summon the sun to return. Don’t scoff. When I, too, get up in the dark and meditate, I feel my own self-confidence rising. Watch the world awaken. Light a wood fire, something I sit beside and watch for hours, its flames more imaginative than television. Bask in the radiant warmth.

Kokopelli, night owl that he is, still slumbers.

My wife, in another room, rolls toward the wall and finally rises to join me.

There’s a science, and then there’s an art. In the pyre, paper first chars, then shrinks, and finally explodes. Only then do flames engulf it. “Consider the bomb a ream would create,” I grin at her.

“Now who would you want to bomb, Buzzard?”

But I also know how difficult igniting that ream would be, and how difficult to keep it burning. Watch carefully and misconceptions turn to ash.

In the continuing drought of that fall and winter, I explore national forest well into February. Areas that should be buried in a half-dozen feet of snow are instead bare. Atop one mountain, I look over a cliff. “I think it’s dolomite.” Maybe it isn’t. Maybe the identification isn’t earth-shaking important, but learning the names of places and their minerals, fauna, and flora adds dimensions to a place. Improves your chances of survival, too, if put to the test. For now, I scramble on the scree and realize that white painted stones at the cliff’s edge marked out a heliport. Far below my feet, a table of forest spreads into basins that are invisible from my vantage, and other places I’ve already been. I trace Forest Service roads, such as they are — 1707 from Raganunda to the top or 601 down to Willy Dick’s. “Keep elk gate closed,” the sign reads when I came out, passing a few back country ranches to the highway’s rush and debris. Far above all that, I sing out: “God bless a bloody rib cage above gray fuzz. Perhaps we’ll have rain in the morning! We shouldn’t be kicking this dust.”

In a zero-degree fog, the sun rises as white as the moon.

“Let our liquid flow again despite this desiccation!” I cry in my dreams. “Why is it so difficult to recall the thoughts rainstorms instilled?”

“You put too much value on sorrow,” Kokopelli tells me. Even in my sleep, that old guide’s still at work.

For more insights from the American Far West and Kokopelli, click here.

PRELUDE & FUGUE 24/

there, in thick grass beside a slow stream
a Jersey heifer
wears telescope goggles to observe
a bragging rival

*   *   *

one with horns turns
to observe the huddled two Holsteins
wait for grain

three in thick grass beside a slow stream
four in a high meadow
four on a green slope, still

a Jersey heifer, a bragging rival with horns
turns to the huddled dairy cows awaiting
grain

three in thick grass beside a slow stream
four brown in a high meadow
along a green slope

a Jersey heifer wears telescope goggles
to observe a bragging rival
with long horns turns

the dairy cows, huddle, waiting
for grain beside a slow stream
and the high green meadow

the inertia, meanwhile, is extraordinary
waiting, huddling, bragging rival
mooing, with horns

turning to observe the inertia
meanwhile, a Jersey heifer wears telescope goggles
to stalk a bragging rival

four brown cattle in a high meadow
four on a green slope
two Holsteins waiting for grain

three in thick grass beside a slow stream
the inertia, meanwhile, is
brown, green, mooing, bragging

the wait for grain
huddled beside a slow stream mooing
in the inertia

meanwhile, a Jersey heifer wears telescope goggles
to observe another cow, its bragging
“meow”

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

QUADRILLE

four theatrical scenes

1

thirteen dancers hold large butterflies, frogs, crabs, and fish
on sticks over their heads

on our pallet, everyone laughing and tickling

Christmas lights adorn a swan the size of a sailboat on the beach
surrounded by jesters and an undertaker in top hat

and don’t giggle much

tents with electrical lighting have encamped under a bird feeder in the library

late-night lime daquiris, with or without salt

a dozen dresses covering light bulbs
hang from a leafy tree after sunset

2

the classic marble trio upholding the blue orb
stands in three stages of undress

regardless, stay cool

3

behind the eyes and ears of her diaphanous gown
she wears nothing

she still has eggshells behind the ears

Salome, with her slippery hands

4

a surgical theater of the dead Romans and Dutch masters
with a sole nun present and in prayer

while the child skateboards through the kitchen

elaborate mathematical equations in icing on the wedding cake
as animal tracks through a universe

Poem copyright 2016 by Jnana Hodson
To see the full set of
Partitas, click here.

RIDGES AND RIVERS

Someday I’ll learn the identities of clouds. Buy the chart, memorize their qualities and forms, and then watch the flowing sky afresh. This is, after all, yet another strand of mapping.

From childhood, I’ve absorbed maps. Mind travel. Concepts augmented by photographs and writings, which have often furnished a sense a such familiarity that when I arrive in a new place, strangers stop me to ask directions, even on my inaugural visit. Foliage, waters, buildings, and people fill in the lines of his maps as they stretch toward some new border. But this move, with its desert, has been an exception. Nothing’s been predictable or particularly comforting. Besides, I experience a vague agitation when venturing to the edge of my known universe. If possible, when visiting new locale, I push out a few miles further, to determine what’s over the next ridge or river — or at least down the road — as if to anchor myself within some context, rather than remain at its periphery. Curiously, I feel more secure when placing that border at some shoreline or rise — countryside, at the least — rather than within seemingly endless tracts of housing, factories, stores, and pavement. Even a round earth has places where monsters may lurk. Gaps exist in any map. Consider the clouds. Everything is, after all, changing. Even that rock, where Kokopelli is sitting.

For more insights from the American Far West and Kokopelli, click here.

PRELUDE & FUGUE 44/

no clouds except in the sky as yet
snow sits atop cones
in long-needled pine

*   *   *

in long-needled pine, a gray hill
beyond the snow-covered cones
becomes cloudy sky
yet pussy willows are molting

gray clouds of snowy pine
yet the sky covers cones atop long-needled pine
in the primrose sunrise the snow covers
pussy willows before you believe summer is coming

yes, beyond the snow-covered gray hill
wisps of clouds are melting
into pussy willows and pinecones

with the melting snow atop cones
the long-needled primrose sun sets
in a gray hill of pussy willows
you believe summer is coming

no clouds with the melting
wall atop gray cones

beyond the pussy-willow clouds
with the melting gray wall

birch beyond pussy willows, not clouds
melting the gray wall atop long-needled cones
beyond the pussy willows

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

IN THE DIMENSIONS OF DAILY EMPLOYMENT

Any workplace holds confidences you can never reveal. Not that you don’t want to expose company secrets. Then, considering the office computers, fax machines, and photocopiers, you realize they’re incapable of guilt. They simply do their job — and you might find that unsettling.

Whenever I do manage to tap genuine emotions regarding this employment, no one’s more shocked than myself. Take something as simple as a pane of glass between my desk and the trees outdoors. Even on my job in Appalachian mountains, I wanted a window. One the size of a book would suffice, although a picture view would be preferred. I’ve always appreciated a panorama, a sense of precisely where I fit into the weather of a particular day. Instead, I feel trapped underground, half-buried in regulations and routine. Only a band of natural light at the far end of the fluorescent-and-steel expanse hints of sun, moon, sky, or clouds — and even that aperture is tinted. Why are my hours on the job so cut off from the rest of life? “We may as well be coal miners in carbonized veins or muscular razorbacks sweltering in midnight foundries. Is it only the sun we miss? Examine the calendar. Check on the moon’s phase.”

I could just plot my escape. I am surrounded by desert. Trek there alone. Right to the heart.

He recall the words of another friend who spoke of the paradox of Zen Buddhist freedom: the very limitations the practice imposes also lead to an extraordinary freedom. An individual who’s free in the Spirit can be placed in prison and yet not be captive — persecuted and yet unbowed — denounced and still spotless.

The Dedicated Laborious Quest, as my Teacher taught, is a truly free way.

Free, yes, with the labor.

I pick up the phone and hear Kokopelli’s whistle. He wants us to get going. Then tells me of the dance where we’ll be playing.

For more insights from the American Far West and Kokopelli, click here.

BACK TO BACH

This time of year, the world makes a special nod to the genius of Johann Sebastian Bach, who was born on March 21, 1685, in Eisenach, Germany.

When I first explored classical music, in the late ’50s and early ’60s, Bach was a much more distant figure than we encounter today. Yes, he was considered one of the three greatest composers ever, but largely in a scholarly consideration. Rare performances of his music itself largely focused on the organ works – infrequent events outside of their application in religious services in churches having both outstanding instruments and musicians – or came about through a few soloists who championed his instrumental compositions. Think of E. Power Biggs, Pablo Casals, Wanda Landowski, Rosalyn Turek, or the Bach Aria Group.

Harpsichords, for that matter, were a novelty, and the Brandenburg Concertos were typically performed with a piano as a substitute in the ensemble. How strange that sounds today, when these once exotic pieces are among the most frequently played works on classical radio stations, and commonly in period-instrument bands at that.

For one thing, the repertoire is not as defined by symphony orchestras as it was then – a break for Bach, who wrote little that would fit into their programs, even in a scaled-down mode. Today, we have chamber orchestras, community choruses, and period-performers to champion other avenues of composition.

Seems strange to consider how much the classical music scene has changed during my lifetime. For perspective, Vivaldi and Mahler were even greater rarities. And for many of us, the jazz-influenced Swingle Singers gave us the first clue of just what Bach’s scores might unleash.

We’ve been liberated from the heavy-handed, smoky, Romantic-era, Victorian approach I first encountered. What’s happened parallels the breakthroughs in painting restoration, where old masterpieces were finally stripped of the layers of dark varnish that we’d assumed were part of their intended appearance. What a brilliant, startling, controversial revelation that was! How garish rather than reverential we found much that was finally released to the light. How playful, how scandalous! What joy!

Thus it’s been with Bach, too. In the right hands, the mathematical purity of Bach’s inventions is utterly heavenly, intimate, sensual. To sing the parts with others is a marvelous balancing act of hearts and minds dancing in spirit together. Gone is any sense of a sermon in sound – this comes closer to prayer.

Add to that the demands of daily craftsmanship imposed on Bach, meaning that he created work after work more or less on deadline, with little time for major revisions, and the results can be seen as all the more impressive. No wonder we’re left agog in the face of what we discover in what he timeless wonder he discovered and embraced.

MOUNTAINS AS A RELATIVE MEASURE

As I listen, I realize the locals don’t consider the surrounding ridges to be mountains. Although these “foothills” or just plain “hills” are as tall as Pennsylvania’s Alleghenies, shorn of trees, to speak of “mountains” signifies that one must drive away into forest. The time comes to hike in unfamiliar high country.

I drive west, into a mountain pass, and park at the trail head.

Climbing through clouds on Sheep Lake Trail, I identify snow lilies, phlox, two whistling marmots I mistake for groundhogs, and a ptarmigan. In these topless mountains, snow and rocks glimmer atop jagged white threads that twist, plunge, and roar over miles. In this clarity I recount a friend’s determination to perceive the important task to perform each day — a focus she achieved in the sunset of her young death. Go on.

The next outing, I follow another friend’s favorite trail. My valley of orchards and meadows stretches behind in a twilight of small-city lights and barren blue ridges. In golden splay dusk, I learn to fear glaciers atop volcanic spines and in their grooved depths, too. So much depends on which way you turn. Clouds, one moment pink, shift into slate-blue. Think of a great-uncle’s farm in Ohio flatlands when green-wood ringed the fields and autos were novelties; and how, when the United Brethren in Christ build their new sanctuary, one tree furnishes enough lumber for all the pews. Such timber is long gone from most of the Midwest, and nearly gone here, as well.

Strangely, adjusting to such disorientation can allow one to see more than the landscape with fresh eyes. I begin reckoning my birthplace afresh, too. I perceive a native poetry now vanished: in flat terrain they coined Sweet Potato Ridge Road when they became sensitive to what had been called Nigger Pike, after work crews that came out from the workhouse jail in the city; Diamond Mill Road was made of limestone gravel flecked with quartz or mica, but named for the distillery beside the rails. What could be in those rural lanes I had sped along on the way to the farm to cause their ghosts to arise out here? I think, too, of the hayloft I had delighted climbing in, even though the old folks feared I’d fall through and be trampled by cattle; more ominously, some shed rafters I walked like a high-wire artist had hogs rummaging below, with razor snouts and teeth and a latent taste for blood. That farm acreage is scarcely like these Western orchards or open ranges, yet something echoes. It’s earth and air. Sunshine and clouds. My days in the mountains are airy conifers. I could be a pioneer, in spirit, at least. My ancestors settled those Ohio tracts. Another line, a bit earlier, settled North Carolina Piedmont. Here, I find unspoiled corners.

Perhaps bears do drink beer. Rocks, leap from mountaintops into oceans. Naked breasts, swell from snowmelt pool to sky.

Against this wall, between his desert and the frigid sea current, I declare my vast ignorance: left to myself, I’d likely starve, soon sicken of berries, and have never caught fish properly or gutted a rabbit. Somehow, I wait to be fed. Thus, one point of my Dedicated Laborious Quest involves learning to be wholly myself — embracing flaws as well as talents, as I search out my own boundaries.

Away from the office and encircled by an ever-renewing earth — even an apparently lifeless desert that restores his sanity and a brand of insanity, too — you may find that every trail you follow brings you closer to your own attainment, your emerging sense of place and mission within the universe. As for looniness — ah, loco! — you soon appreciate how all are in some way at least un poco, indeed.

For more insights from the American Far West and Kokopelli, click here.

LIBERTY

Few people move to desert out of any desire for its peculiar landscape. True, there are those who hope its dry air will alleviate some health problem, yet even they typically install green lawns and shrubs requiring frequent irrigation. There is the prospector expecting to strike riches to squander elsewhere, or the cowboy or shepherd accompanying the herd or the flock, or a refugee or smuggler moving across the opening as a place of the least likelihood of detection or the least resistance in the border. Admittedly, some come to a particular job or to retire. Some come for opportunities of outdoors recreation — proximity to forested mountains or snow-fed rivers rather than the tawny dry ground itself. Almost all, however, have taken flight from something back there — whatever their birthplace or last residence — more than any deep conviction that this horizon embraces their Promised Land. They arrive with boxes and garments, with reminders of conflict or distance. Moreover, they cling to the desert fringe — settling in oasis towns or cities where irrigation water rushes along cement ditches — rather than miles beyond their next neighbor, with only buff surroundings.

My wife and I are no exception.

At the office, I’m asked, Where were you born? What brought you here? Where are your parents? I calculate: few children live within a day’s drive of grandparents, aunts, or uncles. Compared to my birthplace, cemeteries are rare. Nobody admits fleeing family, which is a fact of life. The trout fishing, they say, is unsurpassed. There is salmon. If you have water, you can garden nearly anything to perfection. You can hunt elk in the mountains or various quail in the foothills. You can raft on the river. There’s no rain to speak of, and overcast days are infrequent, excepting the winter.

I explain my reasons were professional. I’m establishing a career and am something of a specialist whose last job was eliminated by sharp, painful budget cutbacks. Here, at least, I have opportunities to advance as a manager, working under a progressive-minded mentor. I accept this move as a shortcut before moving on, to bigger things beyond that horizon. Besides, I’ve promised my wife that somehow we’d relocate to this corner of the nation, a place she fondly remembers from four years of childhood. Following me in this move, she’s distraught to find desert where she anticipated rainforest. In short, both of us suffer dislocation.

Here, then, a rewiring begins. Some of it connects the person to the place. Some of it, the two people to each other. Some of it, the individuals to their dreams.

Horses preserve a way of desert life. Consider rodeo. Agriculture is spelled rancher, not farmer: Even fifteen acres becomes a ranch. There’s great distance nearly anywhere you’d want to go. Religion polarizes into New Age, on one hand, and fundamentalist, on the other, with little in between; this condition is as true within denominations as across the diverse range of religions themselves. There’s a different spectrum of ethnicity to contend with, too — Native-American, Hispanic, and Asian. More, too, than the Eurocentric nationalities and African consciousness he had seen Back East — to say nothing of rearranged economic strata. Within and without. The bum on the corner turns out to be a multi-millionaire who owns a thousand acres. Here cattle are not cows; it’s beef rather than dairy. Federal government agencies are omnipresent: the Bureau of Reclamation manages hydroelectric generation and irrigation; beyond, there are military bases, national forests, tribal reservations, high country meadows, famed parks, Corps of Engineers reservoirs, state-owned sporting grounds, horticultural boards, Extension Service projects. People apply to the Feds when they file for grazing rights or mineral mining stakes supposedly there for the taking. You’ll observe unspoken contradictions, beginning with the right-wing rhetoric common within these federally subsidized communities. As for the Bureau of Reclamation: how dare we say we’re reclaiming when we’re merely putting our human stamp on a piece of soil by diverting water and planting? Maybe we’re declaiming or proclaiming instead. The Bureau of Indian Affairs appeared even more unsettling. Chiefly …

I am learning. There’s good reason the rattlesnake-infested, corrugated humps encircling the orchard valley are pale brown: they receive none of the snowmelt impounded from late March into July in the high mountains. Agencies release and distribute that water through blazing summer into October. Green agriculture parallels the river and irrigation canals, defying the tough, roasted inclines above, where sagebrush and bunchgrass stroke tawny eternity. In this compass, wind rarely precedes rain. Beyond lucrative strips of orchards, the principal agriculture involves herds or hay; because of irrigation and unfettered sunlight, five mowings a year are common; bales are trucked to dairy cows and pleasure horses on the rainy side of the tall mountains. Desert has few chickens — and no pigs to speak of. Somewhere out there, Basque shepherds elude the heat. Forests begin at the top of high ridges observed fifty miles distant.

In the Far West, most men hunt and fish. Their goal is big game: deer and elk, especially. Big trout and salmon, too. Everything else remains “Back East” or target practice. Its vastness hammers the imagination.

On our journey westward, we notice that Custer National Forest flanks the barren holdings of the Crow and Northern Cheyenne reservations. Somehow that summarizes a Far West polity in what I thought would be a classless society.

For more insights from the American Far West and Kokopelli, click here.