Ecumenical Eucharists

In the early days of my quilting group, we met on a Friday night. We’d bring food and gather after work as the sun started to set. We brought our favorite foods, and we lit candles. We ate a meal and worked on our quilts. It felt very sacramental, in terms of my Lutheran training.

Around Holy Week of 2003, I wrote the following poem, which was later published in the journal Ruminate:

Eucharist

I knead the bread leavened with beer,
stew a lamb shank in a pot of lentils,
prepare a salad of apples, walnuts, and raisins,
sweetened with wine and honey.
No one ever had herbs as bitter as this late season lettuce.

My friends gather at dusk, a motley band
of ragtags, fleeing from the Philistines of academia:
a Marxist, a Hindu, a Wiccan, a Charismatic Catholic,
and me, a lapsed Lutheran longing for liturgy.

Later, having drunk several bottles of wine
with prices that could have paid our grad
school rents, we eat desserts from disparate
cultures and tell our daughters tales from our deviant days.
We agree to meet again.

Gnarled vegetables coaxed from their dark hiding places
transform into a hearty broth.
Fire transubstantiates flour and water into life giving loaves.
Outcasts scavenged from the margins of education
share a meal and memories and begin to mold
a new family, a different covenant.

We have participated in the Paschal mysteries,
not yet comprehending the scope of what we have created.

Armenian lentil soup
a pot of Armenian lentil soup (photo: Dave Bonta, soup: Marcia Bonta)

I was not a lapsed Lutheran (I kept that word because I like the alliteration); on the contrary, I’d been planning a Maundy Thursday meal for my church. I had wanted to create a full Seder meal, the Passover meal Christians traditionally believe was Christ’s last supper. But I didn’t have any assistance, so I decided to do something more simple, a stew of lentils, which would have been a common meal amongst the disciples.

I was not a lapsed Lutheran, but my friends did have that wide diversity of beliefs described in the poem. And those daughters that joined us are now finishing college.

In the poem, I can see the elements of the Seder meal and the imagery of the early church. This actual recipe may not create a meal that’s quite as sublime, but it’s delicious, cheap, and easy. I created the recipe for a cousin who didn’t cook, so I was trying to explain the process along the way.

Lentil Soup

A timing heads up: this soup needs 30-60 minutes to simmer.

The bare minimum of ingredients you’ll need:

12-16 oz. package of lentils
28 oz. can of diced tomatoes (I like Del Monte petite cut) OR 2 15 oz. cans diced tomatoes
Pot of water

Nutrition Booster:

Several carrots (3-6), chopped into bite-size pieces (you can use baby carrots, but they’re more expensive). Carrots are SO nutritious and cheap—don’t be afraid to use a lot.

Flavor Boosters:

1 onion, chopped

several cloves of minced garlic (put the cloves through a garlic press or look for jars of minced garlic in your produce department and use a spoonful or two); garlic powder is easier and will work just fine

several Tablespoons of olive oil

herbs: oregano and basil (1-2 Tablespoons of each)

several Tablespoons of brown sugar (or molasses)

several Tablespoons of red wine

several Tablespoons of balsamic vinegar or red wine vinegar

Basic Instructions:

Put the onion and oil in a big soup pot. Turn the burner to high or medium high (8 or so on your burner control dial). Stir the onions around in the bottom of the pot until they’re limp and more translucent. Add the garlic and the oregano and basil. Stir another minute or two.

Put all the sliced carrots that you’re going to use in the pot and cover them with water. Turn up the heat of the burner under the pot until the water boils. Let the carrots boil 10-15 minutes. You want tender carrots before you go any further. Spear one, let it cool, and eat it to be sure.

Add the tomatoes and the lentils and all the rest of the flavor boosters that you’re using. Fill the pot the rest of the way with water. Let the pot come to a boil, then turn the heat way down (you want it to simmer just below a boil—you’ll probably want to keep the heat at medium low—at 2-4 on the dial). The lentils probably need a half hour of cooking at this point. If you think about it, give the pot a stir every so often (if not, no big deal).

You can also let this soup simmer away for an hour or longer. Just keep an eye on the liquid level (those lentils will soak it up as they cook!) and add water as necessary.

You could serve this topped with a dollop of sour cream, if you wish. But it’s great plain.

A pot of this soup will easily serve 6-15 people; smaller groups can get several meals out of one pot. And it’s cheap (it will cost you less than $5 to make a whole pot), so when you’re tired of it, throw it out.

Or you can turn it into something else: boil as much liquid out of it as you can. Add chunks of feta cheese to the lentils, along with tomatoes (cherry tomatoes cut in half work well), cucumbers, peppers or whatever veggies you have on hand. Voila! A lentil salad (feel free to serve it on top of greens) or something you can spoon into pita bread.

Intersections: reading, translation, writing

This entry is part 29 of 38 in the series Poetry from the Other Americas

Jacques BraultBelow is a short translation of an extract from Visitation, a long poem in French by the Quebecois poet, essayist, novelist and translator Jacques Brault. The trajectory of his work has a particular resonance for a translator and for readers in translation. Born (1933) and raised in Montreal in both financial poverty and what he experienced as linguistic poverty and disenfranchisement, he militantly embraced the cause of a separatist, francophone Quebec, but the output of his long writing life also reflects a journey first into the riches of his own language and thence into a broader, cosmopolitan consciousness, which has involved him in translation and transnational/translingual collaborations. A recurring image in his poetry is that of the street corner, the intersection of writing and other art forms, of life and language, language and language, self and others.*

I’ve been reading Jacques Brault’s work while trying to formulate a few thoughts about the pleasure of translating some poetry for the Poetry from the Other Americas project. And about my surprise, because I’d only rarely written poetry myself and had stoutly maintained that only poets should translate it. Even greater surprise that it led to writing a few poems of my own: the patient exercise of translating a poem mobilises the relevant muscles, I suppose. Like many, I’m often too speedy and compulsive a reader to fully appreciate poetry, fret against slowing down enough, going deep enough. Translation is an exceptionally close kind of reading. It makes you slow down a lot, read and re-read a poem over a considerable time. This concentrated, fierce encounter with words is rewarding, and I’d encourage fellow sceptics to have a go. If you don’t think of yourself as someone who writes poetry, but do know more than one language, translation might prove to be a way in. It might even lead you to the puzzling, scary but alluring place Jacques Brault describes here:

 

          But I don’t know don’t know any more if I should speak or keep silent let the waters flow or plunge myself into them forget myself in the moment of turning down this street or inhabit myself down to the bone down to the cry

          Tell me do you know you who listen to me watch me do you know what it is that I don’t say won’t ever say so there it is between us like a night falling and hiding us in darkness

          In a low voice lower your voice I beg you come closer let your breath touch my ear it makes a sound I had forgotten the human voice

          Or je ne sais pas je ne sais plus s’il faut parler ou me taire laisser les eaux couler ou me rouler en elles m’oublier dans l’instant qui tourne le coin de la rue ou m’habiter jusqu’à l’os jusqu’au cri

          Dis le sais-tu toi qui m’écoutes et me regardes le sais-tu ce que c’est que je ne dis pas que je ne dirai jamais et c’est là entre nous comme un soir qui tombe et nous oscurcit

          À voix basse baisse la voix je t’en prie approche et que ton souffle me touche à l’oreille cela fait un bruit que j’avais oublié la parole humaine

 

* I found out about Jacques Brault from Sherry Simon’s absorbing book, Translating Montreal.

Small Animals

…where ancient waters gathered in basins
beneath the trees, developers have sent

their armies of earth-movers.
—Luisa A. Igloria, “Anything that might sustain

in our village, the trees are young
the older ones were axed or bulldozed
more than fifteen summers ago
to make way for duplexes
and similar vacation houses

we are not summer tenants
but live here from season to season
through each monsoon and strong moon tides
when the paucity of foliage and trees leaves us
as vulnerable as small animals
with nowhere to hide

but the pine grows convoluted and hardy roots
soon the saplings the gardener
entrusts to the earth
are taller than my adult daughters
but this is fifteen years later

so why did the heavy equipment
operators and bulldozers
destroy the sturdy ancient trees
in the first place to shelter
transient humans?

Reprimand

after/inspired by Dave Bonta’s “Youth Revisited

It is said
Malek ibn Dinar
was asked by
his neighbors
to confront
a rabble-rouser.

When he offered
to report him to
the sultan, the
youth just laughed,
proclaimed himself
too favored to be
punished locally,
so Malek pointed
upward, threatened
higher authority.

Still the youth
refused to cower,
proclaimed God
much too generous
to inspire fear. Malek
could not dispute
this, he left
speechless.

Another day in
the market, crowds
gathered to grab
that young man
and restrain him,
but before Malek
could join them,
he heard a Voice:

Do not touch him.
He is my friend.

When Malek passed
on the message,
the youth said: Ah!
If it is like that,
take my possessions.

And he left, alone,
after the Friend
who did not permit
even a saint to raise
a hand against him.


Based on “Malek ibn Dinar: Malek and his licentious neighbour” in
Muslim Saints and Mystics: Episodes from the Tadhkiral al-Auliya’ (“Memorial of the Saints”) by Farid al-Din Attar, translated by A.J. Arberry (Rutledge & Kegan Paul Ltd, 1966)

Banana Split

This entry is part 4 of 6 in the series Poets in the Kitchen

Banana Girl

this longing to consume you
completely has not ceased,
i persist in wanting to eat you
the way i eat a semi-ripe banana,
unpeeling it slowly, checking it
for hardness in some parts,
the parts that present a
challenge for tongue and teeth.

think of me as the soft, ripe parts,
the one with a bruise the color
of a hickey but i can never bring myself
to confess to this desire
to make a light meal out of you.

the shyness of an introverted girl
overpowers the lust about to flare.
yep, yellow is for the cowardly
who don’t even give it the ole college try
true, i am like those bundles
of Dole bananas harvested
from southern Philippine plantations
by underpaid, underfed workers.

you will sooner see a rise from me
from a sense of outrage at inhumane
servitude than for me to sidle up
to your side, unpeel you slowly
like a firm banana i wanna
introduce in my mouth.

Poor Person’s Banana Split

In the absence of ice cream, marshmallows and similar ingredients

Ingredients:

6 pieces of bananas, lakatan variety

Can of condensed milk

Cupful of fried peanuts

Procedure:

Slice the bananas lengthwise and place them in four separate bowls. Chill them for 15 minutes. Pound the peanuts into a mortar and pestle until fine. Bring out the bowls of bananas, then pour condensed milk over them. Sprinkle with fine peanut powder. Serve to four hungry children as a healthy snack.

Emily Dickinson by Michel Garneau

This entry is part 28 of 38 in the series Poetry from the Other Americas

Michel Garneau

Emily’s fans are everywhere (and thank you, US blogger friends, for making me one). See Dave’s recent translation of Alejandra Pizarnik’s “Poema para Emily Dickinson”. The prolific Quebecois poet, dramatist, performer and broadcaster Michel Garneau (b. 1939) published this long poem in 1977 and followed it in 1981 with his play Émilie ne sera plus jamais cueillie par l’anémone, wherein Emily’s life is transposed to a setting in Quebec, as were – controversially – his French translations of Shakespeare.

Michel Garneau has often focused on and written in the voices of women. Is it too much to deduce that woman also stands here for Quebec, that Emily is Quebec? Anyway, from this very active, public, male, francophone writer, a poem both bold and delicate that I think holds its own in the context of recent attempts to reassess and de-romanticise the work and life of Emily Dickinson.


Cousin to the squirrels

would we all have made fun
of this little woman drunk on dew
old maid with jam on her mind
hiding literature in her apron?

by the end of her journeying within
she used to stay at the top of the stairs
when
     visitors
     arrived
while
     they would be left
          in the brown shadows
               of the hallway
and
     she
          would
               address them
                    from on high

                    for a few moments
emily
     the lowliest
     of all those present

vibrating
like the string of a kite

and did she ever love a man of flesh and blood
stirring hidden and mysterious
beneath the clothes that were fashionable then?

discreet biographers have suggested
that she died
she died still
died still a virgin

or perhaps she loved a woman
and reading between the lines you might
believe she just touched her hair

she held debates with her very personal god
there among the flowers she called by name
while believing in no names
but those exhaled by the flowers themselves

on rosy-brown butcher paper
and on used envelopes
she made a little note of every nuance
of how everything was part
of an infinite possibility

it took her breath away
when the setting sun
lit up the squirrel’s tail

she breathed as if labouring uphill
with her two narrow little lungs

she listened
to her heart’s gift
to the rhythm
of too great a benefaction:
               her very lifeblood

there in her village
she devoured the whole cosmos
made the best jams
while never telling a soul
that she knew the sacredness of everything
even of evil living as she did
in the dizzy ecstasy
of life’s bounty
that she had no fear
of sorrow
that she never was alone
being both herself
and her own confidante

thistles by Jean Morris

observing the passage of the bee
with his cartload of honey
there in those famous fields
starry with clover
she allowed the heedless thistles
to tear her pretty yellow dress

and if from time to time
she mouthed
a plea for help
at other times
she would weed out despair
with her own fine manners

you see
if you spoke too loudly
in her presence
she would retreat to her room
excusing herself with a small smile

and did she love her own body?
can one really love the whole universe?

the clouds pregnant with chilly peace
took refuge in the grass

the song of the nighthawk echoed around
then lost itself in the surface of the leaves

the bobolink sang just for her
and often she would thank him
for staying close
often she wrote his name
I hear her saying it softly
over and over
as she swept up the tiniest trace
of the bobolink’s pale dust
     bobolink bobolink

emily had little learning
emily isn’t in the know
emily had no opinions
only revelations

clearly though she knew she saw
she heard with such exquisite pleasure
truly tasted and was luminously
touched by everything she felt

she knew only
streams and ponds
the very thought of a raging flood
ravaged her heart

naïve was emily
naïve as the devil
and supremely skeptical

with more sweetness than wisdom
she passed the afternoons
her heart stirred
by the wildest of hopes
like the first railway engine

beneath eyelids
as wilful as
the rampant clover
she always had plans
for tomorrow
subtle as the night

I turn my own sunseeking heart
towards the clarity of her questions
her eternal september
and I hear the little scholar of the garden
murmuring among our own lilacs
in that mossy musical way she had
that wonderment is not exactly knowledge
but work is easy
when the soul is at play

emily
smallest
in the house

I learn from her learn from her sweetness
to read the hillsides one syllable at a time

delicate and free in my own house
delicate and free in this
rainbow-hued drama of ours

when death prowled among the trees
she offered him a cup of tea
knowing full well
that death did not drink tea

and on that sombre evening
when death finally
overcame her
with what good grace
she must have offered him her life


Cousine des écureuils

chacun de nous s’en serait moqué
de la petite ivrogne de rosée
vieille fille aux yeux de confitures
cachant la littérature dans son tablier

à la fin de son périple dans l’enracinement
elle restait en haut de l’escalier
quand on
          la
          visitait
     ils
          demeuraient
               dans l’ombre brune
                    du vestibule

et
     elle
          leur
               parlait
                    d’en haut

                    quelques instants
emily
     la plus humble
     de toutes présentes

vibrait
comme une corde de cerf volant

elle a aimé des vrais hommes en chair
bougeant mystérieusement cachés
dedans des habits à la mode de ce temps

il est suggéré dans des livres polis
qu’elle jusqu’à la mort
était jusqu’à la mort
vierge jusqu’à la mort

elle a aimé une femme peut-être
et en lisant bien il est possible
de croire qu’elle a touché ses cheveux

elle se querellait avec son dieu très personnel
parmi les fleurs dont elle murmurait les noms
sans jamais croire que rien était nommé
autrement que dans le seul sens de la fleur du souffle

sur le papier rose-brun du boucher
et sur les vieilles enveloppes
elle notait légèrement les toutes nuances
de toute son appartenance
à l’immensité possible

elle perdait le souffle
en voyant le geste du soleil
enflammant la queue de l’écureuil

elle respirait comme une colline
avec deux petits poumons étroits

elle écoutait
le don du coeur qu’elle avait
à même le rythme
du trop immense cadeau :
               le sang vivant

elle a mangé le cosmos
dans un village
et faisait les meilleures confitures
sans jamais dire à personne
qu’elle savait que tout est sacré
même le mal par ce qu’elle vivait
dans la jubilation vertigineuse
du respire-cadeau
et qu’elle ne connaissait pas
la peur d’être triste
et qu’elle n’était jamais seule
puisqu’elle était emily
et la confidante d’emily

en regardant passer l’abeille
dans sa carriole de miel
elle laissait dans la galaxie
du champs de trèfles célèbres
les craquias innocents grafigner
sa belle robe jaune

si elle murmurait parfois
une journée
au secours
une autre journée
elle sarclait le désespoir
proprement avec ses belles manières

voyez-vous
si on parlait fort
en sa présence
elle montait à sa chambre
en s’excusant d’un petit sourire

je ne sais pas si elle aimait son corps
est-ce qu’on aime vraiment l’univers

les nuages infestés de paix frileuse
se retiraient dans l’herbe

le chant de l’engoulevent piquait l’écho
et s’allait perdre dans les pores des feuilles

le bobolink chantait pour elle
elle le remerciait souvent
de chanter près d’elle
en écrivant son nom souvent
et j’entends facilement
répéter doucement
en balayant un presque rien
de poussière blonde de bobolink
     bobolink bobolink

emily n’était pas très connaissante
emily n’est pas au courant
emily n’avait pas d’opinions
rien que des illuminations

c’est clair qu’elle savait qu’elle voyait
qu’elle entendait délicieusement
qu’elle goûtait vraiment qu’elle touchait
lumineusement qu’elle sentait

elle ne connaissait
que ruisseaux et étangs
et le mot maelström
lui serrait le coeur

elle était naïve emily
naïve comme le diable
et parfaitement sceptique

plus douce que sage
elle traversait des après-midi
avec une émeute dans le coeur
et un espoir farouche
comme les premières locomotives

sous les paupières
volontaires comme
la santé des trèfles
elle avait toujours des projets
pour demain
subtils come la nuit

moi je tourne mon cœur tournesol
vers la clarté de ses questions
et de son septembre éternel
j’entends la petite bachelière du jardin
murmurer dans nos lilas
avec une musicienne parlure de mousse
que s’émerveiller n’est pas précisément connaître
mais que c’est facile de travailler
quand l’âme joue

emily
la plus petite
dans la maison

doux d’elle j’apprends d’elle
à lire les syllabes des collines

délicatement libre dans ma maison
délicatement libre dans le drame
couleur de l’arc dans le ciel

quant la mort rôdait autour des arbres
elle lui offrait le thé
et elle savait très bien
que la mort n’aime pas le thé

et au soir sérieux
quand la vraie mort
l’a envahie
elle a dû gentiment
lui offrir sa vie

Blessed Arrogance

each one a small loyalty
to what lies in the hive.
—Luisa A. Igloria, “Extravagance

It is said
Hasan of Basra
once wrote out
a legal document
requested
by an old man
upon his death-
bed, and had it
witnessed
properly, signed
by two just
men. In this
testament,
Hasan promised
God would not
punish
the dying one
for sins.

The old man
then surrendered
his ghost,
was washed
and buried
with the signed
document
between cold
folded hands.

Hasan questioned
himself regarding
arrogance:
who was he
to make such
promises
on behalf
of the Beloved,
who was he
who boldly
wrote out such
a contract
committing God
to mercy?


Based on “Hasan of Basra: Hasan of Basra and the Fire-worshipper” in
Muslim Saints and Mystics: Episodes from the Tadhkiral al-Auliya’ (“Memorial of the Saints”) by Farid al-Din Attar, translated by A.J. Arberry (Rutledge & Kegan Paul Ltd, 1966)

Simultané / Simultaneous

This entry is part 2 of 5 in the series Art and about
Sonia Delaunay: Bal Bullier, 1913 (detail)
Sonia Delaunay: Bal Bullier, 1913 (detail)

At the Bal Bullier figures tango with abstraction shape and colour move in time as well as space – the spinning depth the opening in form and light that Sonia Delaunay captured. Long loved for as long as I’ve loved looking at paintings well loved since long before that well remembered time so long ago it seems no time at all. Simultané (simultaneous) is the word she used. Nineteen eighty-three? four? A survey of Post-Impressionism was it? I mostly remember the three of us – me and you and the women you were with now. I wore a red tee-shirt to hide the blood seeping from my heart. Remember our dance around one another around the paintings among the colours: the blood red the jealous green the wide blue skies of our comparative youth. Colour is the skin of the world she said. Swirling colours and our swirling three-step towards and away and away. We three were a luridly coloured eternal triangle with wavering edges and sharp points but we talked only in twos. With you the happiness of looking at painted light an exhilaration we’d long shared and could still share but would not be sharing ever again. And with her the immediately shared outcry: why was Sonia less famous than her husband? Why when those energetic joyful rhythms…? Light and colour she said are confounded. And when her multi-colours coalesced in concentric circles did the repeated colour wheels catherine wheels swirl and spark into a suggestion of violence? Target practice. My red tee-shirt hid the blood after I cornered her in the Ladies and stuck her with my sharp point. Did I even notice then the fragility of her lines which I now find as startling as the force of her colours and rhythms? Some perceptions change some don’t the driving rhythms forward movement memories moved on. Today for Sonia I’m wearing not red but black. Le Serpent noir is a late work. Long life long love slips around me like a silk scarf the black snake dances to the music of time.

Borrowed Lines

(I borrowed the first line from each couplet in Luisa A. Igloria’s “Ghazal of Rain” and replaced her second lines with my own. Her original lines appear in italics.)

 
This is the only time machine with a curtain:
hours, minutes, seconds: draped and pleated into lines.

A skylight amplifies the pinging of the oldest message:
under the moonlight, ‘I love you’ outweighs other lines.

Towels grow damp from moisture in the bath—
gather basket, take clothespins, hang them out on lines.

The tongues of books lie close to each other.
They each dream of what’s written between others’ lines.

No one knows if the silverfish nest elsewhere, if they curl
up fetal, or stretch out in sketches of fine pencil lines.

Is it worth doing laundry, fighting shirt collars’ resistance
to starch, folding trousers to iron their seams into lines?

Unfinished

This entry is part 1 of 5 in the series Art and about
Perino del Vaga: Holy Family with Saint John the Baptist
Perino del Vaga: Holy Family with Saint John the Baptist
Unfinished… Works from the Courtauld Gallery, Summer 2015

Unfinished, but delight enough in these:
the captured pause, the dissolving outline,
the delicate suggestion of process.

I have a partiality, it seems, for the partial
image, the summary (misread as summery)
evocation of a scene, a face, a figure.

Isn’t this how it is in life – the quiet click
as a roaming eye hovers and finds its focus
in something less than the whole picture?

The contour of her cheek, the shadows between
his small fingers, the meeting of two surfaces.
Incomplete is enough for me.