Solstice, burning bright

Solstice, winter, covid: we are close to the dark.   Those winter days that swing between flat gray and blindingly bright gray work a subtle palette. 

During insomniac nights — at 3am, at 4am — I am close to the darkness too.  As I lay awake, I go deep into it. I riff:
Darkness, my compatriot, my friend, my pain,
my swan dive, tail in the air, everything inverted.
My color palette, everything contained. 
Darkness, all swirling imagination, all nourishment, all foundation.
All restart, light, recognition of what is outside me, 
of darkness inside me that leads to the beyond.

Everyone is talking loosely, wildly, glibly of light, something we lack and thus want desperately to lure.   The electrified trees, the candles that never drip though they burn in every window every night, the bright rafters — all speak to a desire to light up in “unprecedented” fashion.  These are rituals of continuity, myths of faith that lay the way to see in darkness — considered “old-fashioned,” they are back with a bang.  As if we thought they could be replaced with bulbs!

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Playing with Woe

The protestations 
— the kicking and screaming —
where did we think horsehairs
came from
how do you get chicken soup
if not from a chicken

what did we really think 
of this reality thing

at night, unguarded 
in our heart of hearts
at the poker game, 
hurtling in the dark
do we bet on ourselves
as Americans

water and blood,
and skin and porosities and bloomy smells
from closeness, from love,
what did we think bodies were made of
if not bodies that touch and hold,
that tremble, improvise endless encounters until they 

don’t you don’t 
go down a dark alley lightly
even if you are stupid, or American

you go to the Blues
straight-up, all-American art
lugging lowdown bad news
you moan and groan

knowing reality is your dance partner
not asking who leads

you begin to play with woe
compete, restate, elaborate,
find the slinky horn, mockery,
human pulse in the drum beat

tragedy is to be stuck in a single mode
and joy improvisational — all elegance,
meditation, intentional 

“Joy is not for the faint of heart,”
says Robin Coste Lewis, riffing on Clifton
as I riff on Albert Murray, my mother,
Getting old is not for babies.

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thanksgiving in blue, quince and gray

It’s raining, a dreary gray-drenched drizzly rain. But rain blurs, takes the detail from things. What is data in rain? What is insistent, goal-driven argument? What is rain plus holiday? A chance to lay down my arms. Rest in a different kind of time. Steep in blue-gray pointillism where we can see ourselves in a continuous, constantly reimagined line. There were parents who puzzled the mysteries of cranberries and giving thanks during a World War; we once ran around Paris searching for airelles, cranberries, in a self-appointed quest. And in small pods, today all figurations of “we” will be losing some of our grievances. Yes, puzzling the mysteries of celebrating during crisis. Yes, cognizant of all the suffering and challenges – God knows we’re in the soup. At the same time celebrating the soup.

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Release

I wanted a cheap fix, a release, an anything
but the present thing, a veering from catastrophe

and know as the wind blows
there is no quick fix

but jeez, how little is granted, how stingy reality, 
how it seeps its goodness, 

what a frustrating partner is reason, seeming
other to my others, I tear my hair out

so I too began to dance, to shake off the tick
to make it make sense, I turned 

the snow globe on its head, I spun the disk, 
shook the paradigm, I know in my bones 

it is good nonetheless.

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TO THE OTHER SIDE!

Praise the stepping stones!  Simple, each notched and shaped with its own smooth surface. Laid for one purpose — to help us get to the other side.  To balance delicately over the raging chaos.  Monsters bark; still, praise the plank, several planks, foraged from the rough forest.   They feel good to the feet.   Everything old feels new,  brought back from the brink.  We’d been wandering, lost.  We wouldn’t have lasted much longer.  

The old not a destination, not an end game, not a savior.  See it as an in-between.  Horns honk, celebrations, rituals mark a passage.  The in-between is always our place.  Savor our own deep resources.  Never should they be surrendered.  We’ve taken the bridge from the abyss toward a resting place with a vision to the future.   

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THEY

THEY

Kafka saw it, part tragedy, part comic. 
They pulled us off our axis
put us in immobilis, the gnawing cell
of isolation, of terror

who is there, with a hand to catch — 
to touch us —

Time slows down     
stands 
still 
the top keeps 
spinning tottering 
neither stopping nor falling 
turning in exhaustion

We knew to cut the rug
foot-deep in the middle of the sensuous world,
each moment waking the next

Whisk, whisk.  Blow.  Spin it on its head
to rest in the dark.  
Whirl, dear life, impertinent joy. 

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October Blues (and other shades)

October’s precision.  Everything under the sun is sharp, preening with the ethic of freshly waxed cars, buffed and shined.  It is as nails made brilliant, as hard bright vernis.  Brushed wire.  It is shadow or it is not.  It is bursting pods.  It is golden rust, rods, pods.  A leaf falls into a pile of stiff percussion.  Rustling.  Crouching leaf, crouching skeleton.  Wine veined, ochre colored.  Same conversation with variation.  The earth is calling in echoes to other years.  I hear those long corridors of open Os, speaking the language of color. 

No more summer sonata, no more crickets.  Other beings supply the current of high-wire urgency.  Anxiety in the air, human panic.  Mud flats of nation and politics.  There is no joy in mudsville.  No joy in being Cassandra, having watched the hard-muscled tide of the courts over 20 years.  It’s all happening – decay.  

Americans are tuned to our tale of woe, and I’m one of them.  It’s hard to turn away, to oscillate, to equate that with care.  The next two weeks – oh, the indignity, and oh, the dignity required to be a bystander on this earth. 

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The God-Emperor

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Ground Under our Feet?

We live between four walls, they are temporary, fragile, often cheap, sometimes made of scythed corn stalks.  They have been speared into the ground for the Jewish holiday of Sukkot, they won’t hold for long, their very nature is impermanence.  While they last, swaying in the crisp weedy air, let’s whoop it up inside!  Let’s eat and drink and talk about wandering and homelessness, how great paradigms rise and fall but never die.  Let’s go into the rattle of uncertainties, though while we’re sitting or standing in one place, we’re in A Place. 

How in-between and gappy everything is!  Between the four walls, between the moment and la durée, we are also sitting between our spry and grinding doubt and our aspirations.  Against the backdrop of black sky – for in this Sukkah there is no thatch, no leaf cover, no tile, no roof – I see the scintillating stars.  Is it true that “the world spins nightly towards its brightness and we are on it,” as C.D. Wright wrote? These weeks of radical chaos make it hard to believe anything except dismay and revulsion. “I heard him, he was washing the world, unseen, nightlong, real.”  Paul Celan, is it so?  Mood swings are counted not in days, but in hours; the decision to start over can happen several times a day.

We know how many things we claim are random and by chance, and how a flag flying over us becomes tatty and shorn.  Identities fall away.  The Place, one of the names of God, is maddeningly ambiguous and general, but I tend to like ambiguous and general.  I saw a fox standing in my garden one morning. What an indifferent, charged, gleaming animal that decided, after a stare-off, that I wasn’t worth the effort, and wandered off; it was a serene confrontation. This is the challenge, how to live in our grounded groundlessness, our wanderings, in our corn-stalk houses, here, hineini, finding one place to stand. 

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Storm King (Art in the Time of Covid)

You couldn’t ask for a more socially distanced, more star-studded venue in which to view art than Storm King, the famous sculpture park in New York’s Hudson Valley. You can wander the 500 acres – 500! – of this pastoral estate, see milkweed pods caught in sharp points of grass, grand allées of arbres, watch circling hawks – and boom, before you is a grand Calder, posing all kinds of questions, in its kinetic poise, about human possibility. I always feel the big heart of a circus performer in Calder’s sculpture, which is one reason why I love him.
Storm King puts a lot on the platter: in its early incarnation, the question might have been how do industrial “waste” and manly engineering coexist in the natural environment. Now, in the Anthropocene, we might ask if a “natural” environment even exists without its man-made face.
Such is sculpture that exists in space, in time. Are heroics poignantly passé? Is the immense piece of Alexander Liberman called “Adonai,” made of on- and off-again balanced gas cannisters, arrogant, the title a touch dismissive, though he insists it was random? After all, this is an era where an invisible virus has changed our entire landscape. Is a Lichtenstein mermaid against a blue-draped mountainscape worth seeing? Absolutely.
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