Video link.
“Don’t get between the mother and her cubs.” That’s always what people say when they’re trying to scare you about black bears. Well, this morning in the woods above my house, I may not have gotten between them, but I got within 20 feet of them as they played beside one of our moss-covered trails, and I never felt as if I were in the slightest danger. You can see the reaction when the mother finally caught my scent — they were gone. Only afterwards did it occur to me that if she’d decided to charge, I wouldn’t have had any time to react.
Windy days are great for sneaking up on critters that rely more on their noses than their eyes. I wasn’t making any special attempt to walk quietly; the bears were simply making more noise than I was with their rustling around in the leaf duff, and didn’t hear my approach. I had the still camera around my neck and the video camera in my pocket, and I had to make two decisions pretty quickly once I realized a bear family was running towards me: first, do I lose myself in the moment and experience the encounter as deeply as I can, so as to better remember and write about it, or do I try and capture it photographically so I can share the experience with Via Negativa readers? And if the latter, should I take still photos or video?
I am still not sure I made the right decision on either account. I quickly went into a crouch to make myself less visible and prolong the encounter, which I think worked well, but it’s a less than perfect video because I couldn’t keep my eyes on the LCD display — I kept glancing past the camera at the bears. It was fun to see the bear cubs horsing around at such close range, and I regret not keeping the focus on them the whole time. There might have been more cubs up in the woods; we hardly ever see a mother bear with fewer than three cubs. But I suppose this could’ve been a first-year mother. She didn’t seem very big.
The bears ran up over the ridge and I didn’t attempt to follow them, though I did walk as quietly as I could after that. If I’d gone straight back to the house after the encounter, the whole walk wouldn’t have taken more than ten minutes out of my morning: a great reminder of why one should get up from the computer every once in a while. “It’s a dangerous business, Frodo, going out your door…”
I shot this video from my front porch on Tuesday morning. Pileateds are common here because we have an old forest with lots of standing dead and dying trees full of their favorite food: carpenter ants. They’re really neat birds, and I end up mentioning them often in The Morning Porch. This video doesn’t capture their oddness in flight, but it does show calling, drumming, and excavating.
Dec 25, 2007
Christmas—the quietest morning of the year. The stream is a full chorus. A pileated woodpecker flaps overhead, cheering itself on.
Jan 27, 2008
Commotion among the pileated woodpeckers: cackling, drumming. One swoops past and lands on the side of a tree with a magician’s flourish.
Feb 26, 2008
It’s snowing. A pileated woodpecker drums twice in Margaret’s yard: a resonant timpanum. Then sleet: rapid brushes on a taut skin.
Oct 1, 2008
A pileated woodpecker hammers on a dead tree, resonant as it never was in life. I watch ground fog form and dissipate into a clear dawn sky.
Oct 12, 2008
BAM. BAM. BAM. The red crest of a pileated woodpecker flashes into view from the dead side of a maple, sunrise orange on the hill behind.
Nov 14, 2008
Thick fog prolongs the dawn light for hours. A screech owl is answered by a pileated woodpecker, dirge giving way to second-line ululation.
Mar 8, 2009
The distant drumming of a pileated woodpecker is the loudest thing. A faint rustle in the field, the yard, the woods as the rain moves in.
Oct 19, 2009
Heavy frost. In the clear, still air, black birch leaves fall like rain. A pileated woodpecker dives cackling into the treetops.
Oct 31, 2009
Peeled flesh of a black walnut leaks pus onto the sidewalk, more indelible than a blood stain. A woodpecker cackles from a bone-white snag.
Dec 21, 2009
A pileated woodpecker herky-jerks to the top of a tall locust and flies off. My apple core disappears into the white yard without a sound.
Mar 6, 2010
Clear and cold. A silent pileated woodpecker propels itself through the sunlit upper air with great slow strokes of its shining oars.
May 20, 2010
So clear, even the mourning dove sounds joyful. Muffled thuds of a pileated in a dead tree, knocking—as Rumi would say—from the inside.
The night that a pair of mating milk snakes drops out of the ceiling, I do not dream of snakes. I dream of mating, and of breaking through the crust of the earth and discovering another world filled with an unnatural light. I dream of inescapable stairs verging on a cliff-face to which I cling like a wingless fly. When I wake, it’s still humid, if no longer hot, and a wood thrush sings at the edge of the woods, where wood thrushes always sing: one part joy, two parts longing. I get up and close the windows for the day to keep the coolness in, easing the sash into the hundreds of dried corpses I still haven’t vacuumed from the sill — last winter’s harvest of Asian ladybugs. I find my notebook from the night before, what I’d been writing when I heard a noise in the kitchen and set it down — some writer! — to grab the video camera. Picking at a scab, it says, and worry beads. I’m sure I had something in mind, but I don’t know what. The snakes were beautiful, and if I hadn’t known better, I might’ve thought from their configuration that they were one snake with a head at both ends, curious but calm as milk snakes always seem to be. If they’d stayed longer I might’ve stood beneath them and offered the use of my body as a steep set of stairs. But the ceiling or their unfinished business called them back, and up they went.
night kitchen
a hole in the ceiling dispenses
a pair of milk snakes
Siento que el barco mío
ha tropezado, allá en el fondo,
con algo grande.
¡Y nada
sucede! Nada…Quietud…Olas….
—¿Nada sucede; o es que la sucedido todo,
y estamos ya, tranquilos, en lo nuevo?—
Seas
I sense that my boat
has struck, deep down,
against some massive thing.
And nothing happens!
Nothing… silence… waves…
Nothing happens? Or has everything happened,
and we are already resting in the new life?
*
It may be a mistake to try and make a video for one of my favorite poems: I’ll never be satisfied with the results. In this case, my dissatisfaction is especially acute because one of the main things that made the footage so compelling to watch on my home computer — the complex patterns of waves — is excessively pixelated at anything but the highest of resolutions. Also, there’s some absurdity in visually equating the surface of a small, vernal pond with Jimenez’ “Seas.” Oh well.
For the translation, after much thought I decided to borrow from Robert Bly’s translation and render “lo nuevo” as “the new life,” instead of simply “the new,” because I think that is the gist of it. As always with my translations, I’d welcome suggestions of alternatives. I was trying to figure out some way to use “calm,” or a variation thereof, for “tranquilos,” but “becalmed” seemed over-reaching. It’s frustrating to have a clear idea of what the poem means and be unable to quite convey it.
Part videopoem, part music video. The music is by the Polish composer efiel on Jamendo.com, who made it available for noncommercial remix with attribution under the same Creative Commons licence, so this whole video is also so licenced (BY-NC-SA). This is the acoustic version of his otherwise electronic single, Home, with the first instrumental break repeated twice to give me time to get the reading in. The singer (as we learn in the notes for his album 2, which is also available on Last.fm) is Joanna Szwej. The creatures in the video are the Asian or harlequin ladybird beetle, Harmonia axyridis, filmed swarming one of the windows in my house yesterday afternoon. Here’s the poem.
Harlequin Ladybird
The ladybird
is a hard pill,
a dose of red medicine.
Her dogged way
of walking &
the gleam on
her elytra suggest
a certain brittleness,
a gift for sudden
flights of rage.
You wouldn’t think
such a small mouth
could pack
such a painful bite.
Like everyone,
I found her cute
at first, until I realized
there were many more
versions of her, &
they had infiltrated
every crack. Now
she lets herself in
whenever she wants,
only to spend all
her time at
the window.
The pungent scent
of her defensive spray
permeates the house.
What is she afraid of?
I begin to suspect
that those delicate
underwings are really
an airmail letter
containing the last,
unwary words of someone
who perished in
a house fire, the way
she keeps unfolding
& refolding them —
two sheets of onionskin
tucked against a small,
bad heart.
“Gacela” means “ghazal,” but I decided to keep the Spanish word this time to avoid confusion, since Lorca’s notion of what constitutes a ghazal differs so much from the practice of contemporary English-language poets (to say nothing of Arabic poets). This was part of Lorca’s 23-poem cycle Divan del Tamarit, an homage to the great Moorish civilization of his native Andalusia.
Lorca’s free adaptations of the ghazal and qasida reflected the influence of the anthology Poemas Arábigoandaluces translated by Emilio García Gómez, which created a minor sensation among Spanish readers and intellectuals when it was published in 1930. Poets of the renowned Generation of 27, which included Lorca, found it especially revelatory. Rafael Albertí later told an interviewer, “That book opened our eyes to all that Andalusian past, and brought it so close to us that it left me with a great preoccupation for those writers, those Andalusian writers, Arabs and Jews, born in Spain… If one studies Arab-Andalusian poetry carefully, so full of metaphors and miniaturism, we will see that there is a continuity with the later poetry, of Góngora, Soto de Rojas, and centuries later, with our own.” (I’m quoting from the introduction to an English translation of the anthology, Poems of Arab Andalusia, by Cola Franzen.)
The music, as noted in the credits, is by Antony Raijekov. It’s from his Jamendo.com collection Jazz U, to which he applied a liberal Creative Commons license that allows for remixes.
I made this thinking I might post it on Moving Poems, but I’m not sure it quite qualifies as “the best video poetry on the web.” Nevertheless, I enjoy matching poems to footage like this, and I happen to think it’s a pretty good fit, assuming I’m correct in reading a fairly light-hearted tone into the poem.
I wholeheartedly concur with the sentiment that “the world is different from what it seems to be / and we are other than how we see ourselves in our ravings.” The closing assertion, that poems should only be written rarely and reluctantly, strikes me as a rather strong prescription: potentially life-saving for some poets and very dangerous for others. I do love the next-to-last stanza, though (in the canonical translation):
The purpose of poetry is to remind us
how difficult it is to remain just one person,
for our house is open, there are no keys in the doors,
and invisible guests come in and out at will.
In honor of Imbolc and its buck-toothed seer, I uploaded a sharper copy of some footage I shot two years ago. Groundhogs are among the most solitary of marmots, and I think what we’re seeing here is a territorial dispute over some valuable real estate — the crawlspace under my house.
And as long as we’re watching videos, here’s another one I just uploaded, from the three-banjo jam session. There were other songs they performed more flawlessly, but this is the only one where the video is also half-decent (emphasis on “half”). And yes, it is entirely possible that they interrupted the sleep of the groundhog(s) below the floor.
My sledding video from last winter was such a success, I thought I’d try it again this year. The conditions were pretty icy and scary last winter, so I stopped at the half-way point, not wanting to risk the video camera any farther. (I hold it in my right hand as I ride — this isn’t a helmet cam.) But this winter, given all the wonderful cold weather and regular snow, sledding conditions have been exceptional, and with the January thaw imminent, yesterday afternoon I went ahead and shot this video of a sled ride clear to the bottom, a mile-and-a-half-long run. It isn’t quite non-stop, as you’ll see: there are two places, slight uphills on the way down, where I had to get out and walk for a few yards. (The first is the half-way spot where I stopped in last winter’s video.)
Since I was on hard-packed snow rather than ice this time, the ride was relatively quiet. It’s the quiet that I love about sledding, as much as the speed, so I decided to dispense with rousing music on the soundtrack and go for straight realism. (Actually, a little less realism might’ve been nice, but unfortunately my camera doesn’t have image stabilization. I also apologize for all the sniffing — but that too is the sound of winter, isn’t it?)
I’ve been sledding for a long time — since at least the age of four, I think. My mother remembers watching me sled the hill below our farmhouse in Maine, trudging up and flying down over and over at zero degrees Fahrenheit. We moved to Plummer’s Hollow in 1971, when I was five. We did a lot of sledding as a family in the early 70s; my mother’s back still permitted her to go down a gentle slope sitting up. I remember sledding by moonlight, the five of us, taking turns on a shifting assortment of runner sleds and wooden toboggans, our whoops strangely not out of place in the silvered landscape. We never had anything plastic, nor even an aluminum saucer. We were arch traditionalists.
Winters were serious business back then, boys and girls. I remember our first brown Christmas, sometime in the late 70s, because it was such an exception. This winter so far has been like a trip into a time-machine (and given the option of going anywhere back in time, how many of us from happy families wouldn’t choose our own childhoods over the most stirring periods of human history?). January was always the best month for sledding because it was the coldest.
February, by contrast, was always the serious snow month, which brought its own excitement — snow forts, long walks on snowshoes — but it also meant we had to do a lot of tromping in order to keep the sled runs open. Dad showed us how to shuffle slowly along in a straight line, making several passes. But I don’t think anyone else had the patience for it but him and me, and after a few years it was all me. I was an inveterate day-dreamer, so it didn’t much matter what I was doing — I was always somewhere else, deep in a story. And you know, maybe that explains the attraction of sledding to someone like me, who never got into sports otherwise: going down a hill on a sled is one time I am fully alive to the present and nothing else.
After Mom’s back got too bad to permit any more sledding, Dad stopped too, and from the mid-70s on, his main contribution was to mow a sledding trail through the field with his tractor and brushhog each fall. Oddly enough, we didn’t otherwise keep walking trails through the fields mowed back them. We were still raising chickens and ducks and cutting hay, so I guess we viewed them more as hayfields than meadows for wildlife watching. We didn’t, for example, have the trail down through what we call the amphitheatre, where I start my sled ride in the video. The sledding trail Dad mowed every year went straight down from the upper edge of the field opposite the barn. We’d sometimes shovel snow into a bump at the bottom to make group toboggan rides more exciting: airborne!
It’s funny the way people look at me now, as an almost 44-year-old man, when I mention I like to go sledding. As I noted in last year’s post, even though lots of adults enjoy skiing and snowboarding, somehow sledding is for children. But is it? About a week before Christmas, I was joined by a couple of kids — my four-year-old niece Elanor and an older boy of around nine, I think, and the boy’s father, who’s my age, joined in as well. We had a blast sledding and tobogganing down through the field. But I couldn’t help noticing that both children seemed to regard the walk back up the hill as something onerous. Well, to be fair, their legs were a lot shorter than mine, but on the other hand, they were in way better shape than me. The walk up the hill is how you build up the warmth that makes the ride down tolerable, I told them, but they weren’t buying it. So maybe you have to be a grown-up to truly appreciate sledding.
One of the other things besides sledding that signals my permanent adolescence to most people, of course, is the fact that I don’t own a car and barely know how to drive. I am not a big fan of the internal combustion engine. But I’m not sure I’d enjoy sledding nearly as much if I weren’t so accustomed, as we all are, to the contrasting experience of riding in a car. It makes sledding feel like a magic carpet ride.
It helps that these days I invariably sled in a sitting position, which is a bit slower than lying down because of the way the weight’s distributed — the runners tend to bite in toward the back and it can slow forward momentum considerably, depending on the conditions. But it feels faster and more dangerous, especially the sharp turns when you risk tipping over. About ten years ago I started to notice dangerous twinges in my lower back whenever I went over a bump while sledding prone, so much as loved sledding that way I was forced to switch. Our neighbor Paula threw her back out a couple weeks ago while sledding with her grandchildren in front of their house (the third residence in Plummer’s Hollow). And she’s just a year older than me.
Come to think of it, maybe that’s the real reason most adults prefer to leave sledding to the kids. But I hear there are an increasing number of publicly designated sledding hills, for example in Pennsylvania state parks, and given the tendencies of people in my generation to try and prolong childhood indefinitely if possible, I suspect I might even be part of a trend. But even if all the downhill skiers decide to switch tomorrow, forgo their lazy-ass ski lifts, and take up something truly physically demanding, I think I’ll still stick to the quiet and solitude of a Plummer’s Hollow sled ride.
I'm Dave Bonta, a poet and literary magazine editor from the eastern edge of western Pennsylvania. For background on the site, see the About page. For more about me, see my Google profile.
Via Negativa’s first book-spawn!
Order from the press or Contact me for a signed copy or to barter for your own book. Central PA residents can buy it at Webster's.
Metaphors for the Moon
Early marriage is a wetland, a marsh
of co-mingling reeds, breeding birds.
Cleaning My Attic
Cast-iron Royal, weighty and not regal at all but seriously proletarian, ostensibly portable in your anonymous black case: my secret unmusical instrument, which I lugged to cafes before they were wireless or even wired...
Clumps and Voids
The program description, however, devolves into the fey. "The lingam (or linga) is a cylindrical votary object that represents the Hindu god Shiva, and a dispute about its meaning has been going on for many centuries." When a phallus is tagged with the museum label of "cylindrical votary object," I lose hope that the speaker will be introduced as Professor Wendy Doniger: don of dongs.
botanizing
On calm days, the soil swirls and rises in isolated twisters. On a windy day when the wheat is being harvested — a day like today — the soil lifts like a yellow curtain, obliterating the sky.
The Twitching Line
My uncle, gutting a fish:
removing the fins from either side,
tipping the knife below
the little anus, pointing the tail-
end away, slitting it to the gills,
then plunging in a hand
to scoop the organs out, soft
and scarlet as a litter of kittens.
The Ordinary and the Wild
I had a dream the other night about a tall machine, like a crane or an android giraffe, lanky with angles of metal that reach up to the sky when they should somehow be digging. When I woke I felt taller for a moment, and also deeper, as if the soles of my feet had met up with some spilled honey or errant tar while I walked in my sleep.
Busily Seeking... Continual Change
So the mountain was steep? I threw a couple of windbreakers, yogurts and miscellaneous snacks (really, whatever I could lay my hands on at the last minute), wallet, phone, bottles of water--yes, just the things I thought to grab into a new REI bright yellow daypack--and off we went. That was it. Toss things in a bag and go.
Chatoyance
And on the other side, what I
set in motion: the open field, the low hill,
a crease scored in bent blades of grass
where I forgot the wall stood,
my footsteps blurring as the
grass unbends.
Velveteen Rabbi
There are trade-offs: in the womb we knew perfect intimacy, but couldn't meet. Now we are separate, which is at once the source of loneliness (especially for him, I'm guessing) and the source of our ability to connect.
Will Buckingham
My small guide and I then did our double-act of worshipping at the shrine, at which point the monk then declared that, once again, I was not doing it right. There followed another twenty minute lesson in proper bowing -- different from the previous lesson, in fact -- and if I have retained anything it is that one’s feet must be aligned like the lines in the number 8 -- an auspicious number in China.
"On the whole I concentrated on things and people that I found charming and splendid; my notes are also full of poems and observations on trees and plants, birds and insects."
— Sei Shonagon, 994 A.D.