The old man from Maine

My snowshoes are almost as old as I am, but they seem to be holding up well. My parents bought them, along with the pair my Dad still uses, direct from the old craftsman who made them. That was shortly after we moved to Maine in 1967, I think. Down here in central Pennsylvania, some winters go by without any suitable conditions for snowshoeing at all, but here we are still in January and there’s already enough snow — some 13 inches now.

Snowshoeing is kind of the opposite of a sport: it’s slow and ungainly, and doesn’t require any special skills other than the ability to walk. It does let one cross hidden logs and boulders without worrying about twisting an ankle, and in any snow deeper than about mid-calf it’s the only practical way to get around — skis don’t cut it. Snowshoeing for me is a way of feeling connected to the north woods, not to mention to family tradition.

I happened to be filming when a ruffed grouse burst out of the snow right in front of me, and I got some footage of its rapidly disappearing hind end. I had a little more luck filming the somewhat less reclusive old couple I met on the trail.

Imprinting on nature

Our family photo albums are like a lot of family photo albums, I suppose: pictures of birthday parties, babies in the bathtub, Christmas with the grandparents, etc. But one thing sets my parents’ snapshots apart: the vast majority of them were taken outside. As soon after my February birth as it became possible, I was taken out to explore.

on the lake shore, 1966

Of course, it wasn’t unusual for kids to play outside back in the 60s and 70s. But since my parents never bought a TV, we had even less reason than most kids to stay indoors. Continue reading “Imprinting on nature”

Ten favorite books of 2014

I don’t post book reviews the way I used to, and I feel more than a little guilty about that. But here at any rate is an annotated list of my top reads of 2014. (Note that most of them weren’t actually published in 2014. I have no desire ever to become one of those people who tries to read all the fashionable books.) In no particular order:

  1. Madwomen: The Locas mujeres Poems of Gabriela Mistral, translated by Randall Couch (University of Chicago Press, 2008). Mistral doesn’t fit easily into anyone’s pigeonholes and neither do the women of these astonishing persona poems, translated into English for the first time in their entirety.

    Under a tree, I was only
    washing the journeys from my feet
    with my shadow for a road
    and dust for a skirt.
    —”The Fugitive Woman”

  2. Image on the Edge: The Margins of Medieval Art by Michael Camille (Reaktion Books, 2012). My favorite (OK, only) art history read of the year. It’s a definitive look at the marginal art of medieval manuscripts (and analogous carvings on cloisters and cathedrals) that manages to be readable and thought-provoking as well. If you liked Bakhtin’s Rabelais and His World, you’ll love this. Camille leads the reader step by step into a very different way of thinking, one in many ways more alien to the modern European or American worldview than (say) the 5th century BCE writings of Zhuangzi.

    Rather than being freaks in our sense, these images are conceived as products of the terrifyingly promiscuous medieval imagination. For imagination was not only understood to be a cognitive faculty lodged in the front of the brain, nearest the eyes and thus closest linked to vision, but a force that could actually create forms. As the thirteenth-century Polish scholar Witelo argued, imagination, being an intermediary between mind and matter, allowed demons to couple with human beings, since what was perceived in the phantasia was, in some cases, real. It was for this reason that pregnant women were urged not to look at monkeys or even to think of monstrous things, lest their imaginations impregnate their offspring with hideous forms.

  3. Zhuangzi: The Essential Writings with Selections from Traditional Commentaries, translated by Brook Ziporyn (Hackett, 2009). And speaking of Zhuangzi… I’ve long been an advocate of A.C. Graham’s translation, but Will Buckingham recommended this newer translation and he’s right: the scholarship and philosophical acuity raise the bar for all future translations of classic Daoist texts. Zhuangzi is a touchstone text for me, so getting acquainted with a new translation as authoritative and ground-breaking as this is an ongoing process. I’m never actually done reading Zhuangzi, just pausing to let it sink in for a while.

    Back home, Carpenter Shi saw the tree in a dream. It said to him, “What do you want to compare me to, one of those cultivated trees? The hawthorn, the pear, the orange, the rest of those fructiferous trees and shrubs—when their fruit is ripe they get plucked, and that is an insult. Their large branches are bent; their small branches are pruned. Thus do their abilities embitter their lives. That is why they die young, failing to live out their natural life spans. They batter themselves with the vulgar conventions of the world—and all other creatures do the same. As for me, I’ve been working on being useless for a long time. It almost killed me, but I’ve finally managed it—and it is of great use to me! If I were useful, do you think I could have grown to be so great?

    “Moreover, you and I are both [members of the same class, namely] beings—is either of us in a position to classify or evaluate the other? How could a worthless man with one foot in the grave know what is or isn’t a worthless tree?”

    Carpenter Shi awoke and told his dream to his apprentice. The apprentice said, “If it’s trying to be useless, what’s it doing with a shrine around it?”

  4. Ancilla: Poems by Erin Murphy (Lamar University Press, 2014). Erin Murphy is currently my favorite central Pennsylvania poet. Which may sound like damning with faint praise, except that the area boasts such gifted and accomplished poets as Julia Kasdorf, Lee Peterson, Ron Mohring, Marjorie Maddox, Todd Davis, Robin Becker, Patricia Jabbeh Wesley, Steven Sherill and Gabriel Welsch. Ancilla is a collection of portraits, both in the first and third person, of historical figures both famous and obscure, with a decidedly subversive and feminist slant. I was delighted to discover after I bought a copy at a reading that it contains a number of erasure poems, all very well done — and impossible to reproduce accurately here, as they are printed with all the white space from the erased portions intact. But let me share one of them in prose form, at least. Here’s “Jane Austen’s Letters to Sister Cassandra, Abridged”:

    January 1796
    I was nice. I behaved. But love was cut-up silk gloves and old paper hats. Regret is a vessel, not a spinning-wheel. The wind proved to be my future, delivered it to me with a sigh. I flirt with tears. I write.

  5. Even Now: Poems by Hugo Claus, selected and translated from the Dutch by David Colmer (Archipelago Books, 2013). Whenever I visit a new place, I like to buy at least one book of poetry written there. This is what I bought on my trip to Belgium last summer. Our host Marc Neys mentioned that he liked Hugo Claus’ plays better than his poetry, but the plays must be terrific, because the poetry is pretty damn amazing. I can’t believe: a) that I never heard of Hugo Claus before, and b) that he never won a Nobel prize. Clearly one of the premier figures in post-war European literature. This is not a bilingual edition, and at 245 pages it’s closer to a “collected” than a “selected” poems (not that the publisher uses either term).

    Flat is my white,
    As white as a fish of stone.
    I have been razed to the skin.
    My population purged.

    She has become someone else. Strange to my eye,
    The one who lived in the scruff of my neck.
    —”A Woman”

  6. Seahenge: A Quest for Life and Death in Bronze Age Britain by Francis Pryor (Harper Perennial, 2008). Originally published in 2001, this is the first of a trilogy of popular archaeology books by Britain’s most prominent Bronze Age archaeologist, Francis Pryor, continuing with Britain B.C. and Britain A.D., which are both also marvelous (and spawned documentaries of the same titles that you can watch on YouTube—which is how I found out about Pryor in the first place). Pryor is not just a great interpreter of archaeological evidence, he’s also a gifted writer. It’s not surprising that he’s now turned his attention to the writing of detective fiction, for Seahenge too unfolds like a mystery (as so many archaeological discoveries tend to do).

    It is entirely possible that the Holme circle was never about human life and death at all. It could have been a shrine—possibly built by a family that identified with oak trees—to the trees themselves.

  7. The Hangman’s Lament: Poems by Henrik Nordbrandt, translated from the Danish by Thom Satterlee (Green Integer, 2003). Nordbrandt was perhaps my favorite discovery of the year; I liked these poems so much, I immediately ordered everything else in English I could find. But this book remained my favorite of the lot, in part because it fits so comfortably into the hand (love those Green Integer editions).

    And the beams fall into place in the floor
    where someone will go to take his first shaky steps
    or dance to the sounds of a flute carved from the same tree
    when the wood’s time is about to end
    and a cold wind blows over thistles, stones, and broken ground.
    —”The Forester’s Dream”

  8. Two Faint Lines in the Violet by Lissa Kiernan (Negative Capability Press, 2014). Powerful, searing poems that among other issues grapple with one that’s bound to become even more topical in the years ahead: the effects of radiation from nuclear power plants. Kiernan’s first full-length book displays a virtuosic range of tones and forms, from the ironic “Recipe for Yellowcake” to the elegiac “Icarus Blues.” There’s a father who comes out as gay, a grandfather who molests his granddaughter… this may not be the American nuclear family we think we know, but it’s certainly one that deserves to enter our cultural vocabulary.

    You stood calm as an untroubled tree,
    rigid as the spine of an unopened book—listening to me
    listening to your slurred, impenetrable breathing.
    —”At the Door”

  9. Feral by George Monbiot (Penguin, 2014). I don’t have it at hand to quote from because I passed it on to a friend—not because I wanted to get rid of it, but because people who care about wild nature need to read it! The book has two different subtitles. The British edition, which I read, is subtitled “Searching for Enchantment on the Frontiers of Rewilding,” while the American edition (University of Chicago Press, 2014) is subtitled “Rewilding the Land, the Sea, and Human Life.” Either way, it’s a terrific book: a first-person account of the author’s quest for wildness and wild experiences in his native Britain, interwoven with an impassioned yet scientific (and extensively documented) brief for rewilding. George Monbiot is best known as a political columnist for the Guardian, but he studied biology at university and started off as an environmental reporter, and it’s obvious he’s a nature nerd and outdoorsman from way back. But more than anyone else I’ve read on wildlands conservation, including Dave Foreman, Monbiot takes a nuanced approach to the problems of balancing human needs with the preservation of the natural world. He tackles head-on some of the elitist attitudes that have plagued preservationist arguments in the past, and presents rewilding as—among other things—something we need to do for our own mental health. The book is also a great introduction to nature in the British Isles, cutting through a lot of the crap peddled by more mainstream British conservationists who try to ignore the fact that the islands were once covered in temperate rainforest, and that vast landscapes have been “sheepwrecked,” as Monbiot memorably terms it. American readers will be shocked at just how backward farming interests in Britain can be, blocking even the most innocuous species reintroductions and ecological restoration attempts and fighting to preserve a tamed and diminished landscape at all costs. But the book ends on a positive note, reminding us of how quickly marine ecosystems, for example, can recover if we can only find the political will to protect some areas from total exploitation.
  10. Approaching Ice: Poems by Elizabeth Bradfield (Persea, 2010). As with Murphy’s Ancilla, a lot of research went into this book, which for Elizabeth Bradfield involved a certain amount of travel as a naturalist, as well, for the subject of her book is polar exploration, and how to write convincingly about that without multiple visits to the Arctic and Antarctic? Also as with Ancilla, I bought the book after a reading, which I wrote about at Moving Poems since Bradfield concluded with a multimedia segment.

    Always back to Eden—to the time when we knew
    with certainty that something watched and loved us.
    That the very air was miraculous and ours.
    That all we had to do was show up.

    The sun rolled along the horizon. The light never left them.
    The air from their warm mouths became diamonds.
    And they longed for everything they did not have.
    And they came home and longed again.
    —”Why They Went”

I can’t let the subject of books read in 2014 slip away without reminding everyone that Via Negativa’s own Luisa A. Igloria published not one, but two collections of poetry this year: Night Willow from Phoenicia Publishing and Ode to the Heart Smaller than a Pencil Eraser from Utah State University Press (May Swenson Poetry Award Series, selected by Mark Doty).

Observer’s Credo

Defining ecopoetry, I would begin as follows, defining not in terms of form but as an observer’s credo:

To say that I am an observer, a participant, not the end of a process of design but merely a momentary slice of time that’s wearing skin—

to begin at the assumption that I am no more important to the cosmos than a tube worm or a wood duck—

to derive my understanding of myself from what I observe and experience in the world around me, rather than to derive my understanding of the world around me from what I observe and experience in myself.

To say that a poem about the little woodswallow of Australia—one that documents and calls attention to its habitat, behavior, and appearance, gives the reader a nonfiction introduction—is of more value and significance than a poem about my own hopes or fears or discomforts, successes or failures.

To suspect the horse “knows” more about grass than I do,

to recognize that the dog’s capacity to read history and news about what’s happening now and has happened here is more developed than mine, that she has skills and information available to her that I do not.

To wonder about the decline of the golden-winged warbler, wonder how much is due to human-induced loss of habitat, how much to interbreeding with blue-winged warblers—

to learn all I can and know that I do not know—

I do not know if the interbreeding is preparatory to better traits to survive weather and environment shifts, or preparatory to extinction.

To acknowledge not-knowing,

to try to create as little disturbance as possible,

to understand more.

To view the human species as one of many,

to acknowledge that, to a greater extent than any other species, our waste products are more often toxins than nutrients, that we can rank ourselves “above” other species only in this: we are the most venomous and deadly, taking as our prey, unthinkingly and unknowingly, everything within our reach.

To recognize that, as a member of this species, I am probably a sociopath by both nature and nurture.


In response to Dave Bonta’s “Statement of Ecopoetics” and the resulting Facebook discussion.

Statement of Ecopoetics

red-tailed hawk close-up

red-tailed hawk close-up

An editor asked me for a “statement of ecopoetics” to accompany a poem in an as-yet unpublished anthology. (More on that if/when it becomes a reality.) I’m not normally given to these kinds of academic exercises, but I did in fact have such a statement that I’d written back in 2010, and I initially thought it was good enough to use again, because I still agree with its premise: that poets should add extinction to our roster of the great subjects, right up there with love and death. But it didn’t say anything about the sort of nature poetry I most enjoy reading and trying to write — not to mention what, if anything, might differentiate ecopoetry from traditional English-language nature poetry. So I’ve just come up with the following new statement which, believe it or not, represents me being as concise as possible.

For ecopoetry to become more than a simple re-branding of nature poetry, it must begin with an avoidance of easy pieties and recycled myths. It must be grounded not only in the writer’s felt contact with the non-human world, but also in actual knowledge of that world and its inhabitants and processes. It will share with science a passion for careful observation and discovery and a full awareness of the tentative nature of human understanding. For models, it will look less to Ovid, Wordsworth and Gary Snyder than to Lucretius, John Clare, Kenji Miyazawa and Pattiann Rogers.

Ecopoetry should be humble, recognizing that humans are far from the only makers; other species are also capable of tool-making, habitat-shaping, empathy, deception, and art. Most of all, it should abandon the traditional Western dualistic understanding of nature. The Mandarin Chinese word for nature, ziran, literally means “of-itself thus,” and it’s this sense of a world with its own laws, of beings with their own integrity and trajectories that also lies behind our word wild (a cognate with willed, according to some). Nature poetry may be pastoral, but ecopoetry is always wild.

Leave-taking 2: videopoem

Yesterday’s poem was sparked by the footage included here, of a true katydid on the side of my house about a week ago. The music by Peder Norrby (rymdenmusic on Soundcloud) is licensed Attribution-Only under the Creative Commons. I’m experimenting with delivering a poem via text rather than voiceover in a videopoem, but I think I have a ways to go.

I’ll leave it to readers/viewers to decide what the poem means — I’m not really sure myself how best to interpret the last lines. But I will say that I was thinking about idol-worship, or what the Buddhists call upādāna (attachment, clinging, grasping).

Swallowtail: the making of a haiku

spicebush swallowtail caterpillar

I found this photo in my camera when I went to download my Stockholm airport photos. I took it in late August, I think. There’s a spicebush (Lindera benzoin) next to my front door, and the fact that this spicebush swallowtail caterpillar was now climbing the storm door suggests it was in its last instar and looking for a place to pupate. The fake eye-spots on its butt are of course evolution’s way of protecting it from predators (mostly birds).

I got to thinking about the photo in the shower this morning. Perhaps I could post it to my sadly neglected Woodrat photohaiku blog? Then my mind wandered to certain people — you know the type I’m sure — and I came up with:

big fake eyes
your real gaze is in the glass
poor caterpillar

Not bad, but “glass” was too ambivalent (it could mean a drink), while “mirror” would be a little too much (especially given the final “r” sounds of “poor” and “caterpillar”). And what was supposed to be a sympathetic final line just sounded condescending, an insult compounding the injury of anthropomorphism.

where to pupate?
the caterpillar’s own green
repels her now

I wasn’t dissatisfied with this, either, but it seemed altogether too cerebral for a proper haiku. I just wasn’t ready to accept that I couldn’t pack a bit of nature education into (approximately) 17 syllables. This despite the obvious fact that the species name itself was much too long to fit.

big fake eyes
the poor caterpillar’s
only defense

The more I pondered it, the more laden with significance this caterpillar became — poor thing, indeed! I had strayed pretty far from the spirit of haiku, but who cares? I was having fun.

big fake eyes
searching for a quiet spot
to don black wings

This semi-surrealist take would be, if nothing else, a good fit for the Halloween season, I thought. Why not?

I was tired; I had gotten up after only four hours of sleep so I could make bread this morning. I caught myself staring.

big fake stare
the caterpillar is tired
of being a caterpillar

And that, for better or worse, is the one I went with. Spontaneous insights are damn hard work sometimes.

Old Water

The earth has water older than
the sun, scientists say. I’ll never
see rain the same way again,
or hear it tap on the roof
at 4:00 a.m. and not wonder
what other skies it has fallen from,
what other oceans it once also
returned to as if going home.

Scientists say they’re more certain
than ever that planets
throughout the cosmos harbor this
resident alien. And remembering
how many times the eye
has evolved on Earth alone,
I listen to the drumming
on the roof and imagine

that someday, sure as rain,
we’ll meet the watery gaze of beings
born under distant stars.
Maybe we’ll see enough of ourselves
to realize then that loneliness
has no cure—that we are all heirs
to drifting, interstellar ice.
Maybe we’ll offer them a drink.
Maybe we’ll weep.


In response to Scientific American: “Earth Has Water Older than the Sun