Picknickers

A brief update on the golden eagle camera-traps I wrote about two weeks ago: we haven’t been fortunate enough to lure in any eagles so far, but Paula has recovered some interesting wildlife shots. Oddly, she says, all the good stuff has been at the site behind the spruces at the top of First Field; the big cow carcass out at the Far Field hasn’t drawn in much of anything. I wonder if this might not be because the former site is near water (those tiny, ephemeral ponds I wrote about yesterday).

The critters in the gallery are a bobcat, a fisher, and a pair of red-tailed hawks. (Click on the thumbnails to see the full-sized images.)

Field Notes

This entry is part 26 of 73 in the series Morning Porch Poems: Winter 2011-12

What veils? What clouds?

Wing upon wing feathers the view.

The door swings between rooms.

Blast of air, cold rain. Not

ruin. I’ve only longed to find

what you said you lost in a dream:

mountains dissolved in lake water,

sunflowers turning like weather vanes.

Amulets among the cracked stones,

cross-hairs in the branches.

 

In response to an entry from the Morning Porch.

Pondering winter

small patch of January

It as if winter has gone on strike, leaving nothing but a few scabs.

horns

All five of the small depressions on top of the mountain are full; what we usually call vernal ponds have become distinctly hibernal. It may seem like an odd place for water to collect, but a mountaintop is the one place where water doesn’t really know which way to go, so some of it just stays put.

fork

Maybe that’s generally the case with things on top of mountains — they stay because they can’t decide on the best route down. Not that I would know, of course.

Making Dinner, I Hear Rostropovich on the Radio

This entry is part 25 of 73 in the series Morning Porch Poems: Winter 2011-12

Zest of lemons fills the air, and on the radio,
yearning notes from the throat of a cello.

Exactly how much salt or spice to throw in?
Without measurement, the senses tend to open wider.

Viola, violin, strings from the orchestra fill out
undertones in the andante part of the Rococo Variations:

this is Tchaikovsky in the arms of Rostropovich, or
so my daughter tells me. Slow as a waltz— and suddenly I

realize this might be the music I’d like played at my funeral.
Quelle alternative? I don’t know, as I wasn’t really

pondering the matter. Just something in the phrasing,
or the way the quietly contemplative cadenzas make me feel

none of the sorrowful hysteria sometimes induced by
music that lobs the racquetball of the soul around in its cage,

little bird reminded of the wilderness that bred it.
Kindness after long difficulty is what I hear, perhaps. Or

just a simple turn, a few steps around the room, notes that burgeon
into the fullness of their theme. I don’t know much more.

How have I started with lemons and garlic—
grease quietly sputtering under the layer of

fricasseed chicken breasts in a pan on the stove— then
ended up thinking of music by which to exit?

Don’t read more into this than there is.
Clouds look lovely outside the prismatic window,

bunched and fleecy as pulled wool. I’m here and not
about to go anywhere just yet; I love the color yellow.

 

In response to an entry from the Morning Porch.

“Heo-geop-jji-geop”

如 (thus) 是

[M]y tendency is to gulp information off the screen in hunks, finding a topic sentence and then skipping the paragraph below it, snatching the big ideas and leaving the details behind. In Korean the word for this kind of action is heo-geop-jji-geop. I’m not sure, but I think it is an onomatope. At least, it sounds like one to me. If you eat gulping, hurried, barely chewing, this is the sound you make: heo-geop-jji-geop. And that is how I read most things on the internet, and by extension, anything on a computer screen.

Living in Analog

This entry is part 8 of 29 in the series Conversari

The cold is a mother
as generous as the space
between the stars. I gave her
my discontent & my distance:
all those older & more restless selves
who are still out there, moving away
at the speed of light.
I grinned for Polaroid & single-lens
reflex alike, but inside
I was wincing. Cold.

I learned how to knit
when I was seven: scarves
& sweaters, socks & gloves, maps
& pastures & that long deep lake
I later loved. By then I’d crossed
oceans, no mere mermaid;
you couldn’t touch me without noticing
the scars from ships’ propellers
& orca attacks, the stubborn barnacles.
On land I was a sycamore, rich
in baubles no one wanted,
struggling to peel down
to a warmer skin.

*

See the photo reponse by Rachel Rawlins, “Advert for a summer holiday.”

Everything I need to know I learned from poetry

From William Carlos Williams, I learned how to find what I already had.

From Rumi, I learned how to keep searching for it anyway.

From Dickinson, I learned that certainty is death-in-life.

From Whitman, I learned that Creation doesn’t require a God.

From Neruda, I learned that one can be entirely wrong and still be right.

From Francis Ponge, I learned that radical empathy and clinical analysis make good bedfellows.

From Lucille Clifton, I learned that four or five well-chosen words can punch harder than an entire blood-stained epic.

From Ryōkan, I learned that poets must never be too old for children’s games.

From Miguel Hernandez, I learned that onion tears are as good as real ones.

From the Bible, I learned that thoughts are better when they repeat once in a higher key.

From Ai, I learned that even the worst, most evil men and women can still be beautiful.

From Issa, I learned that a poet’s first duty is compassion.

From John Clare, I learned that siding with nature can get you locked away.

From Robinson Jeffers, I learned that weather is the best muse.

From Vicente Aleixandre, I learned that eternity devours us moment by moment.

From Mary Oliver, I learned why a question mark is shaped like an open mouth.

From Charles Simic, I learned how to listen to stones.

Tarot: False Spring

This entry is part 24 of 73 in the series Morning Porch Poems: Winter 2011-12

Confused by warmth followed
by plummeting cold, buds
on the pink magnolia

begin to fruit. In this case,
as in many others, I know
the outcomes of nostalgia.

Don’t look back, I want to say
to the not yet fully formed
corona of petals—

though the sun’s warmth
is barely a husk on this
day with no brim or trestle.

 

In response to an entry from the Morning Porch.

Mermaids

This entry is part 23 of 73 in the series Morning Porch Poems: Winter 2011-12

There are mockups of mermaids every few
blocks in this town— plaster and paint
over wire, arms stretched fore and aft. All
in the same frozen pose, they look like
synchronized swimmers yanked out of the pool
before their final choreographed curtsy.
Pale, flat-chested, not the least bit
sinuous, each sports a different garb:
one’s in a sailor suit, another’s covered
in fake barnacles; and the one in the bay
of the Chinese pagoda close to where
we live has a painted-on cheongsam
of red and gold. Rooted under the half-
moon and the scattering of pixelated stars,
each looks across the pavements and parking
lots, out to the dark water— where all day,
restless waves come in and out with the tide.

 

In response to an entry from the Morning Porch.