MOVING TOWARD A NEW PERIOD

This miracle of being allowed to release so much pent-up work is impossible to describe, but it is fostering an incredible change within me. The publication of my novels as ebooks through Smashwords.com and the postings on this blog of so many bits from my archives are allowing me to enter a period of reduction – something I’m calling “decollecting,” when it comes to my books, recordings, manuscripts, extra clothing, and other assemblies. What I’m also finding is an opening to rethink almost everything and, like the layers of an onion being stripped away, of finding myself willing to rely on fewer and fewer answers … and more and more questions. Add to that a growing sense of wonder, in many cases, or of futility and cynicism, when looking at so many of the political and economic policies being followed blindly.

What I am accepting is that I require less and less material support. Maybe it’s the renunciation in my yogic past finally kicking in, or maybe it’s the tightened focus on what remains before me.

One thing I know as I view the trail markers before me: I’m not ready to kick back, for certain. Let’s see where this goes.

REGARDING ELK AND MORE

Monday morning, as I noted at the time:  

I’d thrown the kids off the PC, where they were watching an episode of The Simpsons, only to find out it was actually an assignment for the older one’s upper-level college course, the Sociology of Humor. [No joking.] And then I got around to some poetry submissions, including an acceptance or two.

Glad you like the work I sent. The elk poems arise out of the four years I spent in the desert of Washington state, bordering the “dry side” of the Cascade Range. They’re part of a series, most of which has already appeared in journals. I’m not a hunter, but living as I have most of my adult life in places near forest (even my time in Indiana and Iowa), I’ve had to acknowledge the existence of hunting as a fact of life – and the ways ancient hunting, with its religious/spiritual dimensions (the discipline of meditation, for instance, arises from waiting for the game), contrasts with modern “harvesting.” Even so, some editors have rejected the work out of hand – maybe they thought I’m a NRA member (quite the opposite, in reality – no guns for me).

Among the poems I’ve written are “After the Fact,” which comes out of Native American lore. It turns out that Gary Snyder also has a piece drawing on the same myth – “This Poem Is for Bear” – which acknowledges the aspect of the girl’s disrespecting the bruin before the abduction. I found another piece along this line of my work, “If a Man Goes Mad,” which works along a similar grain.

Finally, as I look back on the period, I reopen a longpoem, my American Olympus, based on a one-week camping trip with a now ex-wife and a former girlfriend who was visiting (who would have guessed they’d actually enjoy each other’s company). As it turns out, I still hear from the ex-girlfriend.

HOMAGE TO THE BEST … AND BACK TO THE SCREENING ROOM

We sometimes express a yearning for the return of the Renaissance Man – the individual who could be conversant on all fronts of intellectual inquiry – but the reality today is that it’s impossible even to stay abreast of the developments in one’s own field, much less other more widely shared interests.

Just ask folks who read if they’ve read your latest hot discovery, and you’ll likely get blank looks. It’s just a fact of life, even for works that are in the basic canon.

It extends to the other arts, too, and we won’t even raise the frontiers of science.

That reality hit home the other night when we sat down (finally!) to view Citizen Kane. I knew from my cinema studies (uh, 44 years ago) that the work was then considered one of the four greatest movies ever made, but somehow it had slipped through my viewing. Yes, I’d seen Birth of a Nation and the Battleship Potemkin and likely the fourth work on that tally, though I can’t remember what it was.

And now? I’m in the camp that considers Kane the most important movie ever made. Period. And, as my viewing companion said afterward, “I was ready to respect the movie, but I didn’t expect that I’d enjoy it as much as I did.” Which was immensely.

If you want to know how Orson Welles and his team changed the face of movie-making so utterly profoundly, go to the Wikipedia entry for the movie and then watch Peter Bogdanovich and Roger Ebert’s running commentaries, which are included on the Netflix DVD. Apart from the advent of color, there’s really nothing they didn’t revolutionize. (If you see something they missed, speak up.)

I’m glad we saw Kane after we’d watched The Grand Budapest Hotel. For all of Wes Anderson ‘s wonderful quirkiness, we could now appreciate the ways he and his team paid homage to Welles and the incredible cinematographer Gregg Toland at the head of that list.

We’re now going to have to watch both movies again.

FORSYTHIAS

Spring yellow, for Easter. I cut branches of forsythia, bring them indoors, find an appropriate vase with water, if Easter’s falling early. And then they open, with a profusion of yellow. Sunshine.

Some, soon adorned with suspended eggs.

Happy Easter!
Happy Easter!

BLURRING INTO SMOKE

The title, drawn from a line in Galway Kinnell’s “Tillamook Journal,” brings to my mind the corkscrew motion of seasons, memories, and time itself across the sequence of landscapes where I’ve dwelled.

My poems arising in this vein rarely stray far from northern woods. Or from the woodpile or fire, even in summer, no matter how unacknowledged their presence.

Nor do the poems in this range stray far from crickets, whose fiddling is akin to rubbing sticks together to create a fire. Where I live, their night rasping intensifies in early autumn, as though defying the growing chill and approaching, decisive frost. In a sense, there’s an inverse relationship between the mating songs of birds, so rampant around dawn in mid- to late spring, and the cricket activity. In the end, their music goes where the smoke goes. For now. Before starting over.

A MEDITATION, OF SORTS

At the beach the other morning, observing the beauty of the blue surf at low tide on a crystal-clear day, I realized my mind and heart were not in oneness with the postcard view before me. Yes, I was there, but on a mission, and I was all too aware of a desire to be home before my wife left for her afternoon and evening obligations.

My oneness, however, was with the seaweed before me as I put it into buckets and transferred these to black bags in the trunk of my car. The drive home was also a meditation, as was spreading one of the bags over our asparagus bed.

The goal, of course, is to be fully present where I am. Rather than off somewhere far ahead or far behind me.

BIRDS OF OUR YARD

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feeder, especially:

  • goldfinch
  • purple finch
  • house sparrow
  • black-capped chickadee
  • junco
  • tufted titmouse
  • nuthatch
  • mourning dove
  • pigeon
  • pheasant
  • cardinal
  • blue jay
  • catbird
  • cowbird
  • mockingbird
  • starling
  • purple grackle (such a funny word!)
  • cedar waxwing
  • downy and hairy woodpeckers
  • phoebe
  • pine siskel
  • rufus towhee
  • hummingbird
  • robin (as an afterthought!)
  • blue-gray gnatcatcher
  • Peregrin falcon and/or Cooper’s hawk or sharp-shinned hawk
  • common grackle
  • grosbeak
  • bluebird

report of one wild turkey one November

overhead:

  • geese
  • hawks
  • crow
  • gulls
  • raven
  • bald eagle
  • swallows

*   *   *

someday maybe I’ll know by song
all the birds that stay hidden in our treetops

AT THE FEEDER

I’ve already mentioned my astonishment at the range of wildlife we’ve had at our property inside the city limits. We’ve enhanced that, of course, by keeping our bird feeders up through the year. In fact, they devour much more in warm weather than in the depths of winter.

Watching them along with the garden can provide a marvelous awareness of the changing seasons. Here are some notes I made in the passing:

EVEN IN WINTER GARB NOW EMERGING

 

LATE SUMMER

already the goldfinches are losing their bright yellow,
shifting over to their “traveling clothes”
cardinal flower still scarlet
the sunflowers nearly past
will we have any pumpkins in this crazy year?

a stream of crows, maybe a hundred, all headed south
(the ten thousand roosting together in a cemetery, how spooky)

admiring the white gull against blue sky
and the black band on its wing
four white droplets fall away and vanish
never seen that before!

today, two large hawks, soaring

*   *   *

and the goldfinches lost their yellow …
how sudden and uniform this molting!
now-dun at the feeder

 

MIDWINTER

cardinals singing boisterously, 5 a.m.

a raven or two in our yard
regular visitors
under our bird feeder

corn / cracked corn in the mix

poem copyright 2014 by Jnana Hodson

SLEEPING LATE

Back in my college years, I was definitely a night owl. Did much of my best work after midnight, in fact.

But my first job after graduation required me to be at the office no later than 6:30 in the morning most days – sometimes at 5 or 5:15. It was never easy, although I did find that a nap when I got home allowed me to socialize in the evenings.

Moving to the ashram, with its daily predawn meditation sessions, was no less grueling.

In the years after, though, there were many days when I could “sleep late” or “sleep in,” often till noon or so on a day off or when I didn’t have to be in the office till much later. Those were glorious.

When I remarried, however, a new tension arose: my wife is an early riser. No matter how late she turns in, she’s usually awake by 4. On top of it, I wound up going back to the second shift, which meant I’d make a serious effort to be in bed and asleep by 2 a.m. We could have been playing team-tag.

Now that I’m in what’s considered retirement, I’m pretty free to let my natural rhythm settle where it may, apart from mornings or nights when something’s scheduled. What’s surprising is how much I’m turning into an early bird rather than a night owl. I find the early hours conducive to clear thinking and writing – maybe I’ll even get back to meditating and exercising first thing in the morning.

It’s staying up late – even on choir rehearsal nights, with the long commute home afterward – that’s become the challenge.

Never would have expected this, believe me.

Now, if I can only get the power nap going in the early afternoon.

 

 

 

ALONG THE ISINGLASS

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As I said at the time …

After dropping the kid off at school for a rare Saturday session (costume design class), noon, I stop off at Mount Isinglass for a short hike, in part to eat up a bit of time before our customary Saturday afternoon wine tasting and opera broadcast.

While most of our snow has melted, the woods are still covered, even in Gonic. The trail’s quite icy, with a few bare spots for relief.

Amazing how many people rely on their dogs as an excuse to take a walk – as the droppings in the snow attest.

Still, a good exercise, this trek before the snowpack is completely gone, at least if I don’t slip, fall, and injure myself.

Coming down near the river and former bridge, I view a black pool of stilled water brimming slightly over the usual banks, a complete contrast to the two snowy forest hillsides it cleaves. The utter beauty is timeless, and yet totally of the moment. While the water is quiescent, the air resounds with the ferocious chords of the cataract just out of sight.

I approach the top of the falls, the water gaining inevitable velocity and muscle, some of it careening into rockface and then pushing across the current. The narrow, sloping trail down to the base of the cascade, however, remains ice covered, and the places I would normally cross to the river are now mid-stream anyway. I back off, and head back, rather than attempting to scale the cliff to a possible overlook from above.

The temptation becomes too much, and I venture off the return trail, my feet crashing through snowpack that still comes to my knees, until I come to a place where the falls are in view off to the side below me. Rather than the miniature Niagara I’d expected, however, the water’s not rounding off to drop vertically, as I’d seen it in high water here the previous autumn. Rather, it shoots straight out – sometimes into a sheer wall of rock.

All of this wild power – untamed, exuberant, destructive or even cleansing, hissing like strong wind with drumming somewhere deep within. Anyone pulled into the current would be broken by the weight, crushed on the rock, torn by the crossfire. The mill that once channeled this energy has long been swept away by such outbursts, with only a few foundation stones remaining. Downstream, this water will be used at least twice to generate electrical power, but here it explodes for its own glory.

What is it that attracts us to cataracts? The description that comes to mind is “awe,” an acknowledgment of natural, inexplicable power far greater than our own mortal existence. Or maybe the seemingly inexhaustible stream of profusion that outlasts our own span of concentration and observation.

Even so, as the Psalmist noted, “He leads me beside the still waters,” not down to the base of the torrent. I think of two Plain meetinghouses in Ohio, both named Stillwater – one Quaker, the other Old Order German Baptist Brethren. The still water as a place of clarification, the sediment dropping away, a clear drink or safe place to water livestock and wildlife. Waterfowl, too, take refuge. Here the energy is latent and gathering, ready for release. In the meetinghouses, the worshipers gather, still themselves, become clear, preparing for the channel of the week ahead.

The contrast within one stream couldn’t be sharper, one as the other face of its complement.

On the walk back to the car, an icy beech leaf turns translucent on the snowy trail.

a beech leaf
translucent with ice

floating on snow

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