Standing before the glass at the Monterey Bay Aquarium, I watched as sardines swirled in graceful, ribboned unison, turning then splitting into two shifting forms, as over and again a hammerhead shark pierced through their fluid movement. To observe life under the sea’s surface is to enter another world that is our own but utterly different, and is perhaps the most otherworldly experience one might have. While staring at the fish, on one hand, a person could say that nothing much is happening: over and over one large fish chases other smaller ones. But from another view, the most essential thing is happening: you are observing life in all its mystery and it leaves you standing in awe. For a few moments you’re unaware of anything but the fishes’ movement as they glide as if in dance through the liquid blue, and you step into some larger universe where time dissolves.
Inside the ocean, life teems in myriad forms, yet we’re barely conscious of its presence, as most of us rarely encounter what is happening beneath the ocean’s surface in our day to day lives. I would never know about the hammerhead chasing the sardines unless I were to dive into their world or view them in an aquarium. Would we miss their dance if they were no longer with us? Recently, I received a letter from a friend who mentioned that if he never published another poem, the world wouldn’t miss his voice. Most of us at one point or another have probably felt similarly. We work hard at what we do, we aim to accomplish something significant, but still we wonder if our lives have meaning to others. Does a tree, a forest, painting, piece of music, national park or act of simple kindness matter? Why should we learn to cook, build a house, grow a garden, write a story or read one? The universe is enormous and full of fecundity. What does it matter that we create or that we protect the natural world, make space for beauty or nurture others’ creative effort? Would the world miss Dostoevsky, Edna St. Vincent Millay, Martha Graham or Aretha Franklin if they had never produced their work?
Maybe we can’t miss what we’ve never known or experienced. We tend to take in the world we’re given, absorbing it like food, and whatever we’re given becomes part of our being. We can go through our days somewhat routinely, not necessarily sensing a need for reflection. At the same time, however, something in us hungers to be in relationship to something larger than ourselves. We wouldn’t know what we had missed if the artists who produced their creative work never did so, but our world is certainly fuller, our inner lives richer because of them. To reduce or obliterate voices both nonhuman and human— the forests, animals, music, art, stories or other creative work is to diminish existence, reduce wonder, and to take away our souls.
Though the hammerhead chasing the sardines in the aquarium was beautiful to watch, what I was watching may have also been one animal seeking to make dinner out of another. Death and life are interconnected. To be born is to also to learn you will die. Simply to eat, whether animal or vegetable, something else gives its life in order to sustain our own. All of life is transition. Day follows night follows day. Always, we’re leaving behind one state to enter another. To love someone is to know you will also someday lose the one you love. We leave our parents’ home to enter a larger world. We enter a relationship of love, letting go of something of ourselves in order to expand our lives. Perhaps we move to a new location or a new country. In doing so, we gain a new understanding of the complex diversity and multiple realities coexisting in the world. As we age we lose things—our hair, our vision, our strength. With each transition we make in life we lose something. In turn, what we lose asks us to enlarge our internal selves. To love means to be in relationship, and relationship gives life meaning. The world we breathe and move in is alive and also fragile. Writers, and artists in general, invite us to take off our protective armor and become vulnerable again—to look deeply at our lives, to notice our relationship to the world around us, and to become more conscious of the reality that we stand in liminal space: aware both that we are alive, and understanding we will die. We’re living into as well as dying to each ongoing moment. To enter the world is to experience suffering as well as joy. The more we, like the ancient Biblical Job, can allow ourselves to stand in this awareness, the more we can move out of fear into a place of acceptance of all life brings us, even our own deaths–the biggest transition and opportunity of all to enlarge ourselves.
When we gaze at a school of fish whirling by or view minuscule jellyfish slowly drifting past an aquarium window, their transparent bodies radiating with moving iridescent light or when we lean our heads back to cast our vision into the midnight Milky Way, at stars so thick they have become mis, we catch our breath. Time stops and we stand in naked amazed awareness of creation. These moments may seem small, even insignificant within the press of responsibilities we often take on, but they are important. The accomplishments and creative energy of our lives, the things we hold dear—these reflect the impulse to live and thrive. They are the voice beneath our actions and inside our silences that say, “You are alive, and to be alive is a wonder.” Creative work, our own or appreciation of others’, allows us to touch life, feel its pulse. Our creative efforts may seem small even insignificant, but they are vital. They are efforts that whisper to us why we live. Life dwells in these moments and in the details that bring us into a world larger than our selves—into the mystery of our own being.
How beautifully Mary Oliver speaks of this in her poem, “In Blackwater Woods,”
Look, the trees
their own bodies
are giving off the rich
fragrance of cinnamon
the long tapers
are bursting and floating away over
the blue shoulders
of the ponds,
and every pond,
no matter what its
name is, is
I have ever learned
in my lifetime
leads back to this: the fires
and the black river of loss
whose other side
none of us will ever know.
To live in this world
you must be able
to do three things:
to love what is mortal;
to hold it
against your bones knowing
your own life depends on it;
and, when the time comes to let it go,
to let it go.
Deciduous trees burn with luminescent light during autumn as they move toward winter’s dormant stage. Here in Oliver’s poem, the trees in the woods are more than trees; they are lit candles. Similarly, Oliver implies, if we open the eyes of our souls, we can experience the world move from a space where we know the names of things and can categorize them back into a space of the nameless, allowing us to once more delight in their mystery. There are things worth understanding about life’s connection to loss, explains Oliver. Loss teaches us to hold ourselves open to our mortality. Hold the world dear, “against your bones knowing/ your own life depends on it;” Oliver writes, but at the same time our task is to learn to also let go of what we most love. This can be painful and very difficult, but in it, Oliver states, is fulfillment. In losing our life, we find it–ancient wisdom we learn and relearn. In letting go, we can become like autumn trees–lit candles, our lives rich incense others inhale.
“Quite a few years of life have strengthened my conviction that each and everyone’s existence is deeply tied to that of others: life is not time merely passing by, life is about interactions.” ~Pope Francis
I’ve been working on writing and revising a manuscript I’ve titled A Space Between, a series of linked narrative poems about southern Italians immigrating to San Francisco at the turn of the previous century. I started this series of poems about four years ago, set them aside for a few years, and have recently returned to them. The writing began as a result of listening to Gabriel Faure’s Apres un Reve (“After a Dream”), sent to me by a colleague I worked with in New Delhi, India who played the cello beautifully. Because I like to write poems in response to music, I suggested he play a piece of music on the cello and I would write a poem to go with it. As I listened to Faure’s piece, I pictured Naples’ wide harbor as I had seen it at sunset on a trip to southern Italy–the sky a brilliant, burning orange with a single boat sailing off into the far horizon. The music embodied feelings of deep tenderness and loss—how I imagine it felt when my husband’s grandparents left Calabria to sail for America at the turn of the previous century. To lose the ones you love is to lose a world. How enormous the feeling must have been for immigrants as the boat they sailed on pulled away from shore and they realized they might never again walk on the land that shaped them or see once more those they hold dear. This experience of departure is where my manuscript began.
The process of writing A Space Between has been simultaneously like looking through a telescope into a deep space of ever expanding worlds, as well as peering down into a microscope at the fascinating details inside one life, event or moment. After I’d written the first poem, I discovered I had many questions about the Italian immigrant experience, leading me to research for answers. A wide range of writers have helped me developed a sense of life in both Calabria, Italy, and San Francisco, California in the early decades of the last century. Bit by bit, the research expanded both my understanding and my questions, motivating me to write more poems. As I continued to research, read and write, I eventually realized that along with the immigrants who left their country and struggled toward making a life in a new place, I too was on a journey. Now, approximately ninety pages later, I’ve got a completed draft, though I realize there’s much more to understand. My questions and interest in immigrant stories continues.
A Space Between unfolds through a series of narrative poems told from different characters’ perspectives. In creating a world through story or poetry, as in a mosaic, writers, and readers, see how worlds are interconnected— the interior life of characters with the physical world and with the social setting. In creating a narrative, you create a world. Language is a central mode of finding and making meaning. I feel deeply grateful for how writing the story in poems has changed me, not only because of what I learned through what I read, but also for the way the act of writing brings me deeper into the heart of humanity and the worlds we share.
Stories occur in a setting that shapes the narrative. In addition to the physical geography of a location, place is also created by how we name the world we are a part of, and how we use language to talk and write about it. Place is an integration of experience, imagination, thinking, emotion, and the words we give our experience about a place. Employing your imagination to write a story or a narrative poem moves a writer beyond the facts into a felt experience. Through the process of writing, I see ever more clearly how intricately interrelated events and lives are–how worlds live inside of worlds, touching each other in deep and powerful ways, affecting all that comes after. That changes how you think, feel, and respond to the world around you.
We don’t have to be a writer, however, to sense the power of our words. We might begin simply by telling our memories to a friend or child. It’s good to tell our stories as well as to say yes to listening to others’ stories in order to enter into their worlds. I knew little about the Italian American experience of those who came to San Francisco before I began the journey of trying to their stories in poems. Their history wasn’t taught at schools I attended as a child or found in textbooks; neither was it a shared family story. By trying to learn the stories of that era and finding the words that might bring them alive, whole new worlds have opened to me–including having a better understanding of what it might be like for those in our own era whose worlds have fallen apart causing them to leave their homes and all they’ve known to enter strange worlds with hopes for a better life.
love is a place & through this place of love move(with brightness of peace)
yes is a world & in this world of yes live (skillfully curled) all worlds
Love is the ground we walk on, the atmosphere we breathe, the space we move in. Love is the place we all want to live in. We might read a lot about a subject, travel the world looking at facts and scenes from the windows of our own experience, curious about ways of being that puzzle us. When we enter the arms of one we know loves us, though, we intuitively feel we belong. To say yes to love is to say yes to a deeper place of knowing and belonging. As Pope Francis says, “life is about interactions.”To say yes to love is to recognize relationship is a life source. We sense we’re home. Humans are meant for relationship. Relationships with others, with ourselves, and with the natural world help us find our purpose and express what we find meaningful.
We have the ability to create worlds and places of love with our words. Words are a kind of magic, and are powerful in their ability to heal or to harm. Writers think carefully about what words make the world they want their readers to experience. Similarly, in making a place of love in our lives, we want to be aware of choosing words that evoke the world we want to live in with those around us. The recently reported news story of how two Lebanese twin brothers, Mohamed and Omar Kabbani, created a project called “Operation Salam” is an illustration of this idea of the power of words. Selecting a neighborhood in Tripoli, Lebanon, a previous war zone during Lebanon’s civil war between 1975 and 1990, the brothers painted rooftops a bright lime green so that from above, the word salam, or peace, could be read. The project brought the neighborhood together, as approximately 50 people worked to find places in the neighborhood where the brothers could carry out their painting project. “…The people from both sides want to live peacefully,” explained Mohamed. This single word, salam, literally proclaims from the rooftops this Lebanese neighborhood’s desire for peace. Interestingly, by saying “yes” to their roofs being painted, a larger world of “yes” took place—a kind of healing and making of a world they want to live in. Through the physical embodiment of the word as well as neighbors cooperating with each other where previously sectarian violence had occurred, the artists, with this single word, moved people once enemies further toward living peacefully.
To write about something is to enter a door inviting us into a deeper relationship with our subject and the possibility of falling in love with it. When we are in relationship with someone or something, we are listening for what the other is communicating so we can respond. Several times now, I’ve thought I was finished the manuscript of poems about Calabrian immigrants to San Francisco, but then I learn something more about the immigrant experience or Italians in America, and I want to reconsider what I previously said or thought. Keep listening, the story seems to tell me; there’s more to understand. Around us everywhere are worlds that beckon for us to listen. Inside of words, entire worlds exist. Stories, even a single word we share with another, can open a space for understanding and connection, and writing is a way to enter into a place of love.
“Listen to your life. See it for the fathomless mystery it is. In the boredom and pain of it, no less than in the excitement and gladness: touch, taste, smell your way to the holy and hidden heart of it, because in the last analysis all moments are key moments, and life itself is grace.”—Frederick Buechner
In the work I did for three decades, I lived with strict schedules. Nearly every minute counted, and clear goals for each hour, even portions of the hour, seemed necessary. This year I’m choosing to live differently. Thoreau went to the woods to live simply and deliberately. I’m beginning a new life in California as of this summer, and in my experiment in living, I want to focus on living with presence. I have goals–to learn to draw, play the clarinet, learn Spanish, to write poetry, among other goals. More than achieving all my goals, though, I want to open to a place of being. I want to listen to the land I live on, inhabit it physically and mentally–to take in the subtle changes as the seasons shift–the light, the color, the sounds, nurturing the awareness of its presence. I want to every day consciously notice life for the miracle it is.
As I walk across the land where I live, I notice many things that need tending to–the poison oak that’s growing up on the path, the oak trees that need trimming, how last year’s rainstorms have washed away soil on the bank. After being gone for some time, as I have been, there are numerous things I need and want to do. Perhaps these things don’t matter much in the big picture of the universe. Keeping the poison oak at bay, for example, isn’t going to influence what happens in India, though it will make it easier for me to walk around. The bigger lesson in caring for the trees, pulling out weeds, watering, and the various other things people do to their living space when living in a rural area, is understanding how living on the land involves an interconnection and a relationship. As I give to the land and care for it, it cares for me. If I avoid behaviors that cause erosion, for example, it benefits me and benefits the earth I live on as well. Tree roots don’t get undermined causing the tree to fall over. I used to not want to cut the herbs growing in front of my house, better to let them continue on their natural life, I thought. Over time, though, I’ve learned, that most herbs actually like to be cut back. They grow better as a result. The plants have taught me things about themselves.
Learning what the land you live on wants, what it needs, and how to give it that care takes time. Currently, I’m reading about what grows best in specific areas, what gophers and deer don’t like to eat. I’m also learning by getting out and walking around each day to see how things are doing. Doing the walk is a kind of observation ritual so I can better understand the organic processes of the land and my life in connection to it. Though it may be someone’s job to care for the community’s garden or shared landscape, living in an urban landscape requires similar attention. As in human relationships, the land we live on and use needs us to understand the effect our behavior has on it, if we are to live in good relationship with it, if we want a meaningful relationship.
Soquel, California sunset sky
Reeds, Neary’s Lagoon, Santa Cruz, CA
Spider’s web, Neary’s Lagoon, Santa Cruz, CA
Similar to learning how to have a relationship with the land I live on, learning to draw or to write require an attending to an inner awareness of what is trying to come forth. When drawing, as well as when writing, you heighten your attention to details, as the details develop the picture of what you’re focusing on. They enable you to see more fully–not just the object, but its presence and the meaning of its presence. This requires time to not be measured in minutes or in reaching a predetermined goal. Instead, we allow ourselves depth. We explore our connection to time–allow ourselves to move without measurement. Instead of skimming across the surface, we fully inhabit our actions, our thinking, our being. The German poet, Rilke, wrote about the artist’s connection to the creative act in Letters to a Young Poet “In this there is no measuring with time, a year doesn’t matter, and ten years are nothing. Being an artist means: not numbering and counting, but ripening like a tree, which doesn’t force its sap, and stands confidently in the storms of spring, not afraid that afterward summer may not come. It does come. But it comes only to those who are patient, who are there as if eternity lay before them, so unconcernedly silent and vast. I learn it every day of my life, learn it with pain I am grateful for: patience is everything!” It takes time to know who you are as an artist. You have to listen to your life, to what it’s trying to tell you. The message is usually subtle and complex, and takes practice. You don’t have to be a visual artist or writer to be creative. Living is itself a creative act. We have visions of what we want to create in ourselves, and we can be patient with ourselves in the act of making our life something meaningful and with beautiful character.
Observing the world enhances our ability to listen to life and to experience it more fully. This past May, while hiking around in the UK’s Lake District, I looked up from the river’s edge where I was standing to see a leaf backlit by the sun. Its vibrant color and intricate texture stunned me. All the leaf’s veins stood out as if I was looking under a microscope. If color could shout, this leaf would certainly have been deafening. The more I keep my eyes open, the more I notice the infinite variety of colors, textures and shapes. The world comes alive, and I feel more alive as a result.
Leaf, Lake District, UK
River rock, Lake District, UK
Leaf at river’s edge, Lake District, UK
River in Lake District, UK
Lake District roadside moss, UK
Often, I photograph textural details in the world around me. I carry my camera and my journal with me most places. I never know what amazing thing I might see. Holding a camera or a pen are but ways of paying attention, of nurturing a relationship to yourself and to the world. I don’t know what the various images of texture I’m collecting will add up to, the thoughts that will surface as a result. They may be nothing significant in themselves. The photo itself is not the goal. They are but a way of seeing, a pathway. As Shelley Berc, co-director of the Creativity Workshop in her article “How Fear Chokes Creativity and What to Do About It” writes, “We find wonder and beauty, new ideas and images everywhere when we allow our senses to experience each moment fully. When we shut down our perceptiveness and our sensitivity and only look to the finish line, our creativity has no access to the very elements that make it enriching and deep.” When I open the door to my house in the evening to sit on the steps, crickets croon and wind rustles the trees. Leaves fall like rain. There is an energy astir. The earth is full of wonder and alive with a kind of music in the interplay of all that is. We are more than our occupations, lists of accomplishments and goals, more than the muscle and bone of our bodies. Taking the photos or writing in a journal are mainly ways to enter a door into another way of being–one that is more awake, aware.
In his Book of Hours, Love Poems to God, Rilke, writes, “If we surrendered/ to earth’s intelligence/ we could rise up rooted, like trees.” There is a wisdom in the earth that can only be understood as we allow ourselves to absorb its sounds, its rhythms and textures, colors, as we develop an intimacy with it, enter into companionship with it. Trees have roots but they also bend and move, provide a place for birds to roost, food, shade for other plants to grow and for humans to enjoy. They offer beauty. There is more to trees, and the natural world they are a part of than merely the things they provide, however. The earth isn’t just a backdrop to human existence. It is our foundation. Perhaps recording what I see is a way to develop a different kind intelligence–one of deeper roots to all that sustains not just myself, but all of us.
The wind has blown in gusts all day. The light is soft gold. When I stood beside the redwoods this afternoon, I heard them groan. Every world region has different textures that are its own. The natural world is alive with presence. Walking in a forest, desert, beach, grassland, mountain, city park, or simply looking up into the sky and noticing it, listening to it, and then drawing or writing, photographing, or simply talking about what you are aware of draws us into the mystery of existence. Certainly, that’s worth experiencing deeply.
More important than what was recorded, these evenings
deepened my life: they framed every event or thought and placed it with care by the others. As time went on, that scribbled wall—even if it stayed blank—became where everything recognized itself and passed into meaning.
–William Stafford, “Keeping a Journal”
“The next hot job in Silicon Valley is for poets,” says the WashingtonPost today,describing how the tech industry is working to improve the interactive quality of the voice and personalities behind the artificial intelligences we interact with on the Internet, like Apple’s Siri, Amazon’s Alexa, and Microsoft’s Cortana. To do this, software engineers are turning more and more to poets, fiction writers and comedians in a new wave of jobs in artificial intelligence. Additionally, an article in Motherboard, “Robots are coming for our poems,”now two years old, examples are given of robots co-authoring Shakespearian sonnets and haikus. An android learns the algorithms of language you give it, makes predictions about what words will be chosen over others, and uses these to write a poem. I don’t know the definition of “co-authored” as it is used in the context of the robot working together with a human, or how many trials it took to get a poem that feels cohesive and reads like a poem, but I enjoyed the sonnet, as well as a haiku a robot created that are included in the article.
Sasha Chapin’s article, “When robots write poetry,” written this past February, also describes how the algorithms are used that enable robots to write poetry. More interesting, however, is Chapin’s statement at the end of the article, “The coming artificial beings may love good poetry for the same reason we do: how it can seem to bridge the boundaries between consciousnesses. But they will possess a consciousness we couldn’t possibly understand. And when they write poetry, it will not be for us.”
While I question whether robots have consciousness, as Chapin implies, there is a difference between a living, human mind raising questions and pondering life and poetry artificial intelligence produces using algorithms, rather than conscious reflection. The Atlanticreports that number of non-book readers has tripled since 1978. Currently, I’m preparing to present a week long workshop on poetry and poetry writing with middle schoolers at ACS Hillingdon International School, a school just outside of London. As I consider what those students’ interests and concerns might be, I’m turning over the question in my mind, why is it we write for purposes other than to carry out necessary tasks, and in particular, what value does writing poetry hold?
Though it may be helpful to learn that the job market is currently opening up for poets and fiction writers in the tech industry, there are deeper reasons to write and to read poetry, and these have to do with the poetry’s potential to connect us to the physical world, notice its mystery, and value its presence. If you’ve not seen this short TED talk about the worldwide telescope, it’s worth viewing. What Google earth has done to map the world is now being pieced together for the universe, enabling you to map your own virtual tour of the universe with images currently available. When I watched the talk and viewed the images, I felt humbled by the wonder of all that is—the immensity of creation and the miracle that I’m alive on this planet, existing amidst it all. Writing poetry is the opportunity to reflect on that wonder. Perhaps it’s interesting that a robot can write poetry, but how much more amazing it is to experience the poetry writing process yourself—to try and put words to what it means to be alive in this moment. As Salman Rushdie describes, “A poet’s work is to name the unnameable, to point at frauds, to take sides, start arguments, shape the world, and stop it going to sleep.” That’s a challenging task, but certainly a valuable one.
Dalai Lama, photographer Tim Steadman
Dalai Lama greets people, photographer, Mark Cowan
Dalai Lama, photographer Mark Cowan
Dalai Lama, photographer Mark Cowan
Dalai Lama, and AES sangha members, photographer Eric Johnson
Dalai Lama, photographer Tim Steadman
Recently, the Dalai Lama visited the school where I work. During his talk to the student body, he repeatedly emphasized humanity’s interconnectedness with each other and with the natural world. A compassionate heart and a calm mind go together, he explained, and a disturbed mind affects the body. There’s hope for a more compassionate world if we make an attempt, he said. With anger, there is no hope, and he admonished us to make an effort.
With effort, this century can be a happy, a peaceful century, he explained. When there is too much stress, violence comes. Human rights violations are first emotional problems, he stated. Violence comes as a consequence of emotional problems. “We have to make an effort to promote more warm heartedness so there will be no opportunity to kill or bully, because we take care. No one can survive without community,” he said. Selfishness destroys your own happiness. “Society is the basis of our happy life, so we have to take care of society. West needs East. Southern and Northern worlds need each other—not this notion or that,” he said. Around us we see so much fear and distrust, yet friendship is dependent on trust, and trust is dependent on compassion, he explained. Narrow mindedness and shortsightedness brings disaster.
In aiming to build a compassionate world, poetry is a valuable asset. Poetry nurtures our inner life and helps us to understand what it means to be human and to stand in relation to the world around us. Robots might be able to write, but we are human. We want to know what that means—what we can give to the world to meet its deep need, and thereby meet our own deep desire to feel we belong in this world by knowing what we can give to it. Writing poetry, in its aim to find the best words to describe experience, requires observation and awareness, as well as reflection. Because the problems we face both individually and collectively are complex, the practices of observation, awareness are especially needed. Deep reflection, allows us to work out our connections to each other and to the natural world, along with the disconnects we experience in trying to do so. Deep reflection is the territory poetry explores.
Before Old French gave the English language the word “orange,” English speakers referred to the color as yellow-red, ġeolurēad in Old English, according to, Matt Soniak, writer for Mental Floss. It’s not that orange didn’t exist before we had the word, but having the word created a clearer picture of the idea. Tech Insider the origins of another color, blue in thisvideo, demonstrating that without a word for something we physically experience, such as the color blue, people have significant difficulty recognizing it. This phenomena emphasizes the benefit of both verbalizing what we are experiencing, as well as reflecting on those experiences in written words. Additionally, because languages have their own music and mirrors, reflecting the world in different ways, speaking and writing in more than one language expands the potential language has to enable us all to better understand ourselves and our interconnection to others and the world around us. If we are going to find how to live together peacefully, as the Dalai Lama suggested is both possible and important, we need tools to do so. Writing and poetry in specific, is a wonderful tool to use for this purpose. As T. S. Elliot said, “Poetry may make us from time to time a little more aware of the deeper, unnamed feelings which form the substratum of our being, to which we rarely penetrate; for our lives are mostly a constant evasion of ourselves.”
It’s possible that one could sit with pen in hand or type at the computer, and plod mindlessly through a series of steps or items and produce writing. I’ve read this kind of writing before. But if taken to heart, writing can be a tool that enables the mind to unwind its string of thoughts and make patterns that hold meaning and change our lives both individually and collectively. Poetry and literature is our attempt to explore the meaning of being human. As Barry Lopez, explains, “I believe in all human societies there is a desire to love and be loved, to experience the full fierceness of human emotion, and to make a measure of the sacred part of one’s life. Wherever I’ve traveled–Kenya, Chile, Australia, Japan–I’ve found the most dependable way to preserve these possibilities is to be reminded of them in stories. Stories do not give instruction, they do not explain how to love a companion or how to find God. They offer, instead, patterns of sound and association, of event and image. Suspended as listeners and readers in these patterns, we might reimagine our lives. It is through story that we embrace the great breadth of memory, that we can distinguish what is true, and that we may glimpse, at least occasionally, how to live without despair in the midst of the horror that dogs and unhinges us.” We need stories, and poetry. They are our thread through the labyrinth of existence.
While diving in the Maldives a few weeks back, the boat I was living on passed over and past 10,000 shades of blue—blues we have no word for. I found a wonderful color palate for different shades of blue, along with their names on Wikipedia, but though many colors are represented here, it falls far short of what the eye actual sees—the way the white-blue sky bends down into the sea and becomes the sea, for example, or the depth of blue reaching for infinity behind the shoals of yellow, white and black banner fish, along with all the subtle gradations between shades of turquoise as water shallows and then brushes against white sand shores. To try and name any of the experiences we have is to call them, again, into existence, and to share with others what moves us, and what is meaningful–this is what poets aim to do. It is the focus and goal of their efforts, even though what we hold most precious is often beyond naming. “The power of poetry,” says Michael Lewis, “is the ability to express the inexpressible, and to express it in terms of the unforgettable.”
If we are to build a compassionate world, we need to be able to recognize how to nurture our lives and wellbeing of the world around us. We need to be able to reflect on our lives. In his poem, “Keeping a Journal,” William Stafford, identifies the value of writing in his closing lines when he explains how through the process of writing he found his journal to be a place where “everything/recognized itself and passed into meaning.” To speak with an open heart in a journal or a poem takes courage, but in doing so, we can gain insight into ourselves and our relationship to the world, insight that can enable us to transform the way we live and interact. Writing poetry helps open our eyes and reach for meaning. As David Whyte says in his poem, “The Opening of Eyes”
That day I saw beneath dark clouds
the passing light over the water
and I heard the voice of the world speak out,
I knew then, as I had before
life is no passing memory of what has been
nor the remaining pages in a great book
waiting to be read.
It is the opening of eyes long closed.
It is the vision of far off things
seen for the silence they hold.
It is the heart after years
of secret conversing
speaking out loud in the clear air.
We write and our lives are deepened. This is what is important about poetry—it teaches us how we can live.
Barry Lopez in his children’s book, Crow and Weasel, writes, “Remember on this one thing, said Badger. The stories people tell have a way of taking care of them. If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive. That is why we put these stories in each other’s memories. This is how people care for themselves.”
Stories connect us to the people who came before us, the narratives they live out and the tales they tell us about what the world is, and who we are in the world. We live by the stories that have shaped and taught us. They give meaning to our experience and direct us in our journey. Stories condense experience, give us the opportunity to examine our difficulties, and to reflect on how our struggles might enable us to grow.
The oldest form of story is poetry. Before poems were ever written, they were told. People’s histories were given in poetry–words constructed to call up experiences through sound and imagery that evoked emotion and helped people remember who they were, what they had done, and why it was important. In listening to poetry, we can step inside a reflection of life that holds up a mirror, and at the same time speaks to something beyond what is experienced. It is a way to reconnect to what it means to be human and to the mystery of existence. As Dana Gioia writes, “In a moment’s pause another world / reveals itself behind the ordinary.” By extension, because poetry was once connected to other art forms, stories, music, and dance, these are doors we can open to that allows us to walk into a larger reality, to see the world from a wider perspective.
The idea that the physical world intersects with the spiritual world is an ancient one, found in many traditions; the Celtic, Catholic, and Native American being a few examples of these. St. John Damascene, a Syrian monk who lived from c. 675 or 676 –to 749 CE, wrote a defense for the use of icons (see more here) that shaped the direction of the church. Though others at the time argued against the use of icons and representational art. God is bigger than any particular physical form, the thinking went, and therefore representation of God in icons should not be allowed. St. John of Damascene argued, however, that if God became human in the form of Christ, then two are intermingled. The sacred could be seen living and breathing through the human form, and therefore it was completely acceptable, he argued, to create icons, to worship through icons, and to paint the human form. In fact, art was a way for the illiterate to see God, Damascene explained, and to read the story of God’s compassion for and interest in humans through the paintings. Damascene demonstrated an acceptance of paradox, and the idea that one’s thinking doesn’t have to be contained in tight boxes of either or. William Dalrymple, in his book, From the Holy Mountain, quotes Damascene saying, “‘…the flower of painting makes me look, charms my eyes as does a flowering meadow and softly distils the glory of God in my soul.'” Through painting, as through nature, Damascene declares, God communicates his presence in the world, and art is a central way in which humans can experience and connect with the Divine.
Though Dalrymple describes the cave where St. John of Damascene wrote these thoughts in The Fount ofKnowledge,as “crude and primitive,” he goes on to say that, “Without Damascene’s work, Byzantine ars sacra would never again have been permitted, Greek painters might never have been able to pass on their secrets to Giotto and the Siennese, and the course of the Renaissance, if it had happened at all, would have been very different.” I’m very grateful for Damascene’s words and thoughts regarding art. Without them, we’d likely be deprived of much beauty, and the spirit that speaks through that beauty.
In her poem, “Pray for Peace,” Ellen Bass speaks of this interconnection of the everyday world around us with the world of spirit.
Pull weeds for peace, turn over in your sleep for peace,
feed the birds, each shiny seed
that spills onto the earth, another second of peace.
Wash your dishes, call your mother, drink wine.
Shovel leaves or snow or trash from your sidewalk.
Make a path. Fold a photo of a dead child
around your VISA card. Scoop your holy water
from the gutter. Gnaw your crust.
Mumble along like a crazy person, stumbling
your prayer through the streets.
Though a way of communicating half forgotten these days, Bass helps the reader to see that prayer can be any act we do with full attention and heart. When we pay attention to our lives, doing what we love presence, that is prayer–a breathing, walking prayer that adds meaning to our lives, and enables us to grow toward wholeness. Making a routine out of things saves energy and time, but even routines can be done with attention and heart. How do we cultivate the kind of noticing awareness in our every day lives, the ways of being that enable the act of living to become prayer?
Involvement in a creative act is a central way to connect the physical world with the inner world. Though there are a variety of art forms that can enable a person to live in fuller awareness of a connection to life’s mystery, writing is an excellent path from which to begin this journey. Whenever I leave the house, I carry my journal, a small book that easily fits inside a pocket. I carry it because at any time something might appear, or someone might say something that needs to be noticed, and I want to be ready. My journal is my fishing line, so to speak. Though I may miss many things swimming in the world around me, because I’m prepared with pen and paper to notice something, I am more likely to find and catch something than if I had no tool at all to help me. Whatever I’m working on as a writer, I look and listen for moments that speak to me while moving through the day—a random phrase, a gesture, a sudden familiar scent that might embody the idea I’m reaching for in a writing piece I’m working on. I remain attentive to sounds, textures, colors, actions—the world’s details that define a place or time. As a result of knowing the questions I’m living with and what I’m looking for, things tend to show up and announce their connection like a kind of internal spark. Suddenly, as if witnessing the embodiment of a metaphor, I see, for example, how something I’m looking at or hear is related to something seemingly completely different. The discovery has a wonderful quality to it, and to then write it out is to be able to embody that insight. Sharing it with others deepens a sense of connection to the world.
Writers aim to name the world, and doing so is to participate in a kind of co-creation of life, at least this is how I experience what happens while writing, and it is one of the motivating reasons to write. To write is to observe closely, and to observe closely moves me to an awareness that I am part of a greater something beyond myself–that I swim in the mystery of existence. Writing is a path that allows me to enter a space where I’m both fully present in my life, and somehow not present at the same time as I step inside the weave of words. This is because I’m living inside of the thing I’m writing about, and what I’m writing about is bigger than me. As poet Nicholas Samaras explained to me once, writers are always writing, even when not writing. I agree with Samaras when he says, on Poetry Net, “God is in the point of my pen.” In losing myself in the work I am doing, I’m made more alive, full, and solid. It’s a paradox.
Writing poetry can be a kind of prayer. My father wrote stories and poetry, but my mother taught me to pay attention to the world around me. She constantly noticed the natural world, flowers on the bank or scent of orange blossoms from the orchard, bees at the birdbath, a fox that came through the front yard, or hawks that circled above the hill behind us. The wind as it blew through the pines where she grew up in the Black Hills of South Dakota, was an ancient choir, she said. As she described the experience to me, I could hear the wind as if it were real. She recalled wild gooseberries’ tart flavor, and told me the names and shapes of wildflowers that grew on the land of her childhood home. Her descriptions lived in my mind as if they were real. Even though where I grew up in eastern San Diego county’s dry desert–very different from the Black Hills, I felt preciousness my mother’s memories of her childhood’s natural environment. Her respect for those experiences nurtured in me a love of my own childhood’s natural environment.
I played outside every day as a child, climbed around on granite boulders, or sat inside the branches of an avocado, umbrella or pepper tree. Our front door often stood open to the outside air. I ran through the yard barefoot, watched clouds parade by, and sunsets spill across the horizon. Coyotes’ yips echoed through the valley in the evening. Crickets sang. Stars came out. These were all gifts, and I belonged to that earth. The experience of growing up in such a place with the opportunity to experience the natural world as part of the rhythms of every day life created in me a foundation for wanting to remain connected to the earth. To have our feet on the earth, to literally ground our selves there, is life engendering. If deprived of such experiences, I think our bodies and spirits still long for them without possibly even knowing it.
Poetry relies on imagery and figures of speech. It integrates the physical world with the world of language. It tells abstract ideas by recreating the physical world. It reconnects the writer and the reader back to place, and this is a central reason why I find it so powerful. In our world, the culture of the workplace pushes us to compete, to gain power and control. When writing poetry, however, I interactively participate in reconnecting to the physical world and the presence residing beneath and inside the movement of life. I trace my origin of wanting to write back to these childhood experiences of connection to the earth’s vibrant, sustaining presence. Willa Cather writes in My Antonia, “I was something that lay under the sun and felt it, like the pumpkins, and I did not want to be anything more. I was entirely happy. Perhaps we feel like that when we die and become a part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep.” To be able to wander in time, to play in a landscape or place is to be transformed and enlarged by it. Writing poetry focuses the writer on presence, and in doing so, helps move the writer toward wholeness. I recommend it.
“Man is hungry for beauty. There is a void.”—Oscar Wilde
In the streets of my Delhi neighborhood, workers are building new apartments. Women carry sand on their heads. Bricks are stacked on the walkway. Yesterday the populous celebrated Republic Day, and I was reading Pamela Timms’ book, Korma Kheer & Kismet, the chapter titled “Independence Day in Sadar Bazar” where she describes the civic protests of 2011 where social activist, Kisan Baburao “Anna” Hazare, began a hunger strike in protest of government corruption. Concerned with the amount of interest Hazare stirred up in the populace, prime minister of the time, Manmohan Singh responded, ‘”Corruption manifests itself in many forms. Funds meant for schemes for the welfare of the common man end up in the pocket of government officials. In some other instances, government discretion is used to favor a selected few. There are also cases where government contracts are wrongfully awarded to the wrong people. We cannot let such activities continue unchecked.”’ Hazare’s hunger strike began the day after the prime minister made the statement, reports Timms, and goes on to describe some of the corruptions in the system—food vendors paying as much as a quarter of their salaries to the police to be able to stay open, and rickshaw drivers paying as much as 20% of their salaries to police to prevent their tires from being slashed, families having to pay bribe money to secure a place for their child at school. (p. 55) (You can read an overview of large-scale corruption in India here if you wish.)
It’s no surprise that corruption is present not only in India. It is a worldwide problem in both businesses, see a list here of top business corruption cases, and governments. Take a look at the thematic map from Transparency International here, to see a visual representation of corruption levels in countries across the world. Justice doesn’t prevail. In many cases, it’s simply the way the world functions where people live, and the everyday person, if he or she wants to function in society, doesn’t have a lot of choice about it.
With corruption and misuse of power so widespread, an enormous percentage of people in the world are pawns to those who hold the power. How do people manage? How do people—any of us and all of us—caught in such systems go on living with good conscience? I remember listening to Garth Lenz describing on his TED Talk about the effects of mining for oil in Canada’s tar sands had on the native people of the area. Parents in that area are caught in the dilemma of needing to feed their children, yet the toxins in the river are causing cancers at the rate of 10 times what it is in other parts of Canada. Because it’s very costly to fly in all the food a person needs in order eat, the aboriginal people are forced to eat the food “..as a parent, I just can’t imagine what that does to your soul. And that’s what we’re doing,” says Lenz. (transcript available here.) Certainly there were people during the time of Spain’s inquisition, in Nazi Germany and in Pol Pot’s Cambodia who didn’t agree with the government’s position but felt compelled to go along with the crowd mentality for fear of their own lives and those of their children’s. Certainly, there are people today in our own institutions who disagree with the use of power and yet are afraid of speaking out for fear of losing their jobs and the livelihood for their families. Not everyone can just move on or move out to a new situation, new job, new country, new life, and even if that were possible, where might one live or work where corruption was not part of the way of life? We have to learn to live in a fallen world.
I’m reminded of Maria Mazziotti Gillan’s poem, “I Open a Box,” in her book, Ancestor’s Song, where she describes her Italian immigrant mother’s doctor coming to her New Jersey tenement to assist her in the delivery of her baby. He arrives late, and Gillan’s mother has already given birth, cut the umbilical cord, and washed her child. When the doctor finally arrives, he doesn’t even enter the room. Instead, he distances himself from the situation.
“He washed his hands, wiped
them on one of the rough linen towels
I brought from Italy, stood in the doorway.
“You’ll be okay,” he said, and left.
“Oh, well,” my mother said, “I think
he was afraid of catching it.”
“Catching what?” I asked.
“Poverty,” she said.
Poverty is often perceived by wealthier countries as something out there over there, not mine not related to one’s own life. Like the doctor at the door, people want to distance themselves from the poor, not realizing their lives are connected. We may want to stand at the door like the doctor of this poem observing a world we don’t want to be a part of. We may think we can wash our hands, bid others well and walk away, and disconnect ourselves from what we don’t want and live in a different neighborhood. But our lives are intertwined. One example: A few years back, students in my speech class debated whether the lithium beneath Bolivia’s salt flats should be mined. The area is of tremendous beauty yet the area holds more than half the world’s lithium. Lithium is a lightweight metal used in powering our high tech products—iPhones, iPods, and other handheld devices. Now, as the world searches for alternative energy and looks towards ways to store electricity in batteries in order to meet more of our needs, including the use of batteries for electric vehicles, the need for lithium grows in greater and greater demand.
Dan McDougal, in his article on Mail Online “In search of Lithium: The battle for the third element” quotes a lithium-ion battery producer, Mary Ann Wright of Johnson Controls-Saft, ‘Since a vehicle battery requires 100 times as much lithium carbonate as its laptop equivalent, the green-car revolution could make lithium one of the planet’s most strategic commodities.’“ There’s not enough lithium to power the world’s 900 million vehicles, however, McDougal observes. Bolivia has significantly large amounts of the needed lithium to produce the batteries for the growing electric car industry, an industry that most people perceive as a green technology. Mc Dougal reports that according to “William Tahil, research director with technology consultancy Meridian International Research, ‘to make just 60 million plug-in hybrid vehicles a year containing a small lithium-ion battery would require 420,000 tons of lithium carbonate – or six times the current global production annually.” To continue, McDougal goes on to report that “The US Geological Survey claims at least 5.4 million tons of lithium could be extracted in Salar De Uyuni, while another report puts it as high as nine million tons.”’ Bolivia is a very poor country. Child workers are exploited, but children work to help their families. While mining the mineral would bring needed jobs and money into the country, a problem is that mining the mineral requires an abundance of water, and water is a rare commodity in Bolivia’s high desert. Bolivia has experienced exploitation by outsiders before in the tin and silver mining industries. An overuse of water could significantly affect the country and its people in numerous ways—making it difficult to have enough water for daily use, as well as for farming. Additionally, mining pollutes water with toxins as well. McDougal asks his readers “Is the world’s need for a green solution to transport worth the destruction of this unique environment and way of life that it lives on?”
Transportation is necessary. Our society is structured in such a way that few of us can walk to work. We need some way of getting to work. We want to do that in the least harmful way to the environment and others. As a result, in the desire to move away from our dependence on oil, many people are looking toward buying an electric car. These same people may be unaware that in doing so they are connected to moral dilemmas of another sort. We are all part of the greater web of being.
Parker Palmer, in his book, The Courage to Teach, which I’m currently reading, talks about the biologist Barbara McClintock, who was given the Nobel Prize in 1983 for her work that changed our understanding of genetics. Prior to her work, people thought of genes as separate things, not in connection to the environment they were a part of. Palmer explains that McClintock’s interviewer who wrote her biography, Fox Keller, “wanted to know, ‘What enabled McClintock to see further and deeper into the mysteries of genetics than her colleagues?’ McClintock’s answer, Keller tells us, is simple: “Over and over again she tells us one must have the time to look, the patience to ‘hear what the material has to say to you,’ the openness to ‘let it come to you.’ Above all, one must have ‘a feeling for the organism.’” We co-create our world. We can’t stand at the door. The burden of the cost of anything is born by all eventually. As Palmer goes on to say, “Modern knowledge has allowed us to manipulate the world but not to control its fate (to say nothing of our own), a fact that becomes more clear each day as the ecosystem dies and our human systems fail.” (p. 57) Perhaps, then one important way of living inside of corrupt systems and move ourselves and society toward greater wholeness is to do what we can with those around us to build and restore relationships constructively. Some things or many things may not be in our power. But some things will. We can learn to listen closely to the interrelationships of people and things so we gain a greater connection to life. With this understanding, we can better comprehend what actions will create harmony both with others and with nature.
Dostoyevsky said, “Beauty can save the world.” While it may not appear to be a solution to growing environmental and social concerns, the idea deserves a closer look. What connection does beauty have in showing us a way through our dilemmas of how to live in unjust social systems? The New York Times “Books” section, published in 1987 includes an excerpt from Richard Ellman’s essay “Oscar Wilde.” Ellman relates the story of Oscar Wilde coming to New York City in 1882. “Beauty is nearer to most of us than we are aware,” Wilde explained talking to reporters. One of the reporters wanted to know if a nearby grain elevator was beautiful. Earlier in the conversation, Wilde had said, ‘I am here to diffuse beauty, and I have no objection to saying that.” As reporters continued probing, Wilde explained further his ideas about beauty. ”’It’s a wide field which has no limit, and all definitions are unsatisfactory. Some people might search and not find anything. But the search, if carried on according to right laws, would constitute estheticism. They would find happiness in striving, even in despair of ever finding what they sought. The renaissance of beauty is not to be hoped for without strife internal and external.” ”Where then is this movement to end?” ”There is no end to it; it will go on forever, just as it had no beginning. I have used the word renaissance to show that it is no new thing with me. It has always existed. As time goes on the men and the forms of expression may change, but the principle will remain. Man is hungry for beauty. . . . There is a void; nature will fill it. The ridicule which esthetes have been subjected to is the only way of blind unhappy souls who cannot find the way to beauty.”’ Creating a world of beauty is creating the ideal world. Creating a heaven, so to speak. To do so will take great effort. But people are hungry for it, as Wilde says. We are hungry for beauty, and that hunger connects to the desire for a world without corruption. Without corruption, beauty has a better chance of thriving.
Elaine Scarry, author of On Beauty and Being Just, speaks on her Harvard Thinks Big, “Beauty as a Call to Justice” about how experiences of beauty help to move humans toward justice. When we experience the beautiful, we are pulled out of our everyday way of interacting with our surroundings. We stand still. We are transfixed, she explains. In those moments, beauty pours into us an awareness of the “surfeit of aliveness.” It takes us out of ourselves, and connects us with a larger reality. Scarry makes the case that this experience of beauty helps lead us to love what we see and to want to care for it and have a relationship with it.
I don’t know if its true as Keats said in his “Ode to a Grecian Urn” that “Beauty is truth, truth beauty,–that is all/Ye know on earth, and all ye need to know,” but I do believe we need to have a much deeper knowing of beauty than we currently hold. There is a relationship between our loss of beauty in many of our urban environments, a loss resulting from our pragmatic values that relegates beauty to the bottom realms, and efficiency to the higher realms of priority. When I speak of beauty, I’m not talking about beauty in the decorative or commercial sense. I’m speaking of the beauty such as nature gives us in a star strewn sky or a valley sweeping down in green fields from stoney mountain peaks. I’m speaking of the beauty Scarry described above—that stops us short, that overwhelms, and then lifts us out of ourselves. Is our culture’s pragmatic love of efficiency causing us to structure society in such a way that it’s actually challenging to make deep connections with others? We have connection to people on Facebook, but does the minimalistic communication that exists there nurture deep conversation and relationship? I doubt it. Could it also be true that our lack of seeing ourselves as connected to the beauty of the Bolivian salt flats and the lives of Bolivian miners as we pursue our technological development (and other similar realities) is part of the reason corruption continues to thrive? Do people act in ugly ways because they live in a world where connection to the natural world is broken? In glimpses of beauty, we can see the world we want to belong to, a world of balance and wholeness, and are drawn to it. If we gave beauty a place of respect and honor in our cultures, possibly we would treat the world with more respect. If we developed more of a relationship with those around us and with the natural world, wouldn’t we understand our connection to the world and realize more fully the effects of our choices? Is our collective loss of beauty causing us to lose our souls?
I never used to understand the Jesus prayer—the ancient prayer that says, “Have mercy on me.” I felt it seemed too focused on the negative and I already struggle to move beyond my failures. But as I see myself more and more intertwined with the existence of all that is, I see the value of this prayer. What the world is or isn’t, isn’t all up to me, but I’m also a part of all that is. How do we live in a corrupt world and yet continue to grow toward wholeness? The problems are all much bigger than me but mercy is extended. “For the Beauty of the Earth” is an old song that carries with it the idea of giving praise for the world around us and to the skies. Perhaps the ongoing practice of noticing and valuing beauty in the world, as the words of this song illustrate, acts to create a greater awareness of our interconnectivity. It’s worth trying.
One of the especially valuable aspects of creative work—of art and literature, of writing—is the way it nurtures the inner life. The artist must look very carefully at whatever she or he is drawing in order to see it and how it functions in relationship to itself and to the world it inhabits. In writing, an author must delve inside the subject with imagination in order to understand the subject and the interrelationship of the subject to oneself and the world. To write or to do art is to cultivate beauty. It is a way to reconnect to the world, is a way of making whole again as telling our story is a way of making us whole again. The flourishing of this kind of empathetic understanding that comes through our interaction with literature and the arts is important to not only the continuance of the world, but the continuance of a world that is good to live in.
Wherever we are, we can work with others to create greater wholeness. If we are going to change at all, it will be a step-by-step movement toward wholeness. In the mean time, we can pray as we walk, “have mercy,” and, by grace, we will continue on.
“Prayer begins at the edge of emptiness.”–Abraham Joshua Heschel
Heschel’s words strike me because there are a lot of things I don’t have answers for. Aware of my smallness in face of the suffering around me every day, I stand at the edge of emptiness and cry out.
When riding out into traffic, I’ve started a practice of looking into beggars’ faces who come to my window, or when someone speaks to me in the market asking for money, or when I see who is suffering, a family living on the street, for example, also animals who suffer, and in my mind I say, “I wish you well.” It’s a kind of prayer, and though it’s not directly answering the needs they have, it’s a way to keep my heart open–to keep noticing even though I might not be able to help the person in the way they ask of me. I want to see their humanness, and to be reminded of my own weakness and vulnerability.
Certainly, even in the lives of the desperately poor, there also must be times of joy. Even so, the human need in Delhi, is great. All the arms reaching out, the eyes–the world’s needs are immense. This week Nepal has its worst earthquake since 1934. The suffering is enormous. It will take decades, to recover, life times to become new, and we feel the grief hanging in the air as we go about our day.
The poverty in this world is not made up of physical poverty only, however. There is poverty of spirit, poverty of heart, and this is where I think that those of us in the developed world have a great lack. Everywhere around us today, from psychologists like Martin Seligman and his ideas about flourishing, to religious leaders like Matthieu Ricard, people are talking about how to be happy. Even Pope Francis has come up with his list of 10 tips for a happier life such as taking time off to be with your family, and spending time in nature. People who study what makes us happy tell us that focusing on what brings us a sense of well being actually helps us to become happier, and of course that is a good thing. But sadness and melancholy are also a part of life, and experiencing sadness and melancholy can help us become more compassionate, as Courtney Stephens explains on this animated TED Ed lesson. We learn from our sadness how to be more human.
I don’t know how best to respond to the sadness in the world, the grief so many feel, but want to give something of myself to meet that need. One must start somewhere, however small. It’s the start that counts. It makes room for greater opening, and I know I need to open.
For months now I have been working on poems on the subject of food. It has taken some time, longer than I expected because new ideas for poems keep surfacing. I am now nearing the end of the poems I want to write for this series. I hope I’ve written well enough that after putting the poems into a manuscript I’ll find a publisher so I can use the proceeds from its sale to give to an organization that helps prevent hunger here in India. I hope it will be of some good. In the process of writing these poems, I’ve also been rereading about creativity, and returned today to Rilke’s Letters To a Young Poet where I read,
“…Everything is gestation and then birthing. To let each impression and each embryo of a feeling come to completion, entirely in itself, in the dark, in the unsayable, the unconscious, beyond the reach of one’s own understanding, and with deep humility and patience to wait for the hour when a new clarity is born: this alone is what it means to live as an artist: in understanding as in creating.
In this there is no measuring with time, a year doesn’t matter, and ten years are nothing. Being an artist means: not numbering and counting, but ripening like a tree, which doesn’t force its sap, and stands confidently in the storms of spring, not afraid that afterward summer may not come. It does come. But it comes only to those who are patient, who are there as if eternity lay before them, so unconcernedly silent and vast. I learn it every day of my life, learn it with pain I am grateful for: patience is everything!”
The need in India has been here for decades. It’s not going to go away in the near future. The sidewalk on the street where I live is in a perpetual state of change. It’s put together one month only to be torn up the next, a metaphor for my own incompleteness–of starting over, trying to make things work, change, to get things “right.” Whatever it is that causes that sidewalk to have to be torn up so often is a mystery. It’s just the way things are here. Likewise, whatever it is we are making or doing with our lives, it isn’t necessarily what we see on the surface. What’s really happening comes from a place far deeper, beyond the reach of our own understanding. I look into the face of my partner who I’ve known for decades now, and find him still a mystery, and stand in wonder. Who am I, I don’t even really know. Definitions, lists and examples aren’t enough to explain. Similarly, how can I in any way touch or meet the vast needs of a world as immense as India? I can’t. As Shakespeare wrote in Sonnet 65,
Since brass, nor stone, nor earth, nor boundless sea, But sad mortality o’er sways their power, How with this rage shall beauty hold a plea, Whose action is no stronger than a flower? O! how shall summer’s honey breath hold out, Against the wrackful siege of battering days, When rocks impregnable are not so stout, Nor gates of steel so strong but Time decays? O fearful meditation! where, alack, Shall Time’s best jewel from Time’s chest lie hid? Or what strong hand can hold his swift foot back? Or who his spoil of beauty can forbid? O! none, unless this miracle have might, That in black ink my love may still shine bright.
We are all frail and mortal. Beauty’s action may be no stronger than a flower, but still we need that flower. We all need to be touched, to be met, to be needed. So, I write on, my words, tiny splotches on computer screens of light wavering inside the colossal of India’s immensity, prayers of pale petals– ink floating down the Yamuna hoping to touch other lives.