Watch on Vimeo.
Six weeks after I planted potatoes, they are finally all up, the latest leaves no bigger than the ears of the mice I was sure had dug up and eaten them, especially after a series of holes appeared in each hill. But it’s been unusually cold this spring, and sprouts were simply taking their time. Our neighbors had urged patience, and they were right.
All this waiting to see what happens with the pandemic would be hard to bear if I didn’t also have something to wait for: a garden growing and changing day by day now, so that time doesn’t merely pass like some lifeless assembly line, but unfolds, ramifies, flourishes, bears fruit.
I pull weeds my beard
keeps on growing
a snake has left her skin
beside the lettuce
Yes, I’ve been shooting videos of my feet propped up on the porch railing since mid-April (the first of the two snowy shots) waiting for an excuse to combine them into a videopoem. I’d love to tell you that I shot them every set number of days, because I’m all organized like that, but actually, I just did it when I thought of it. As followers of my long-running Morning Porch microblog will know, I have a bit of a thing for sitting outside. In fact I sat on the porch while waiting for this video to upload (which took an hour and a half! Ah, country living).
The font I used for the haiku is called Permanent Marker — basically a Comic Sans that doesn’t suck. And it just occurred to me that the most likely reason it struck me as a good fit is because the grid presentation of shots is ultimately derived from the comics — an association very much in the haiku spirit, by the way, given the traditionally high valuation of lightness (karumi).
Someone asked me how long this video haibun series will go on, and honestly I have no idea. The only thing I have in mind to do with them is stitch some or all of them together into a longer film, as I did with the half-hour-long film of videohaiku that I showed at the REELpoetry festival in January, Crossing the Pond (watch it here). The longer this series continues, the more selective I can be when it comes time to make Pandemic Season: The Movie. On the other hand obviously I am fervently hoping for the pandemic to be over as soon as possible, but it looks as if we may be in for the long haul. Good thing I have gardening to distract myself. And there’s a real sense of solidarity with all the other people getting into gardening in a big way this spring — some for the first time, others, like me, with a renewed passion.
Here’s a brain fart I posted on Facebook when I shared the previous haibun in this series, for what it’s worth: Ever since Basho came along and turned what had been a parlor game into high art, haiku writers have made a fetish of satori-like moments of awareness. In reality, such moments are rare, even for Zen masters, and a better analogy to what we’re trying to do with haiku is the novice spending days pondering an unsolvable riddle (koan), proposed in this case by the universe. You generally have to discard at least your first half-dozen attempts as too clever and keep going back to the riddle of your original glimpse or inkling. With modern haiku and haibun, the challenge is no different; it’s just that the number of allowable subjects has exploded, and our relationship with nature has changed to acknowledge our complicity in its degradation. (Climate change, for example, is playing hob with traditional seasonal references.) Instead of aha moments I tend to look for WTF moments, and instead of personal insights, I’m more interested in creating a space for the reader/listener to make some connection on their own. Without engaged listening and seeing, there’s no haiku.