Tag: poem

april 4/RUN

4.6 miles
franklin loop
64 degrees

Mostly ran, with a little bit of walking, the franklin loop with STA. Sunny and over-dressed in shorts and a long-sleeved shirt. Who cares when it feels this wonderful outside! Usually I lament the leaving of winter, but not this year. I’m ready for summer and vaccines and less time inside. We talked for almost the entire time, but I can’t remember what we discussed. Noticed the river, looking calm and blue, glittering in a few spots. No rowers today. Easter, I guess. Heard some pileated woodpeckers, black-capped chickadees, cardinals. Still no geese. Also heard one runner’s deep, booming voice cutting through everything else. So loud, creeping up behind us. We slowed way down, almost to a walk, so he could pass faster, but it still took forever. Someday I’ll be able to block out these irritations–or, will I?

Sitting on the deck an hour after the run, I thought about some differences between Mary Oliver and Emily Dickinson. Here’s one: MO focuses on the moment when we are able to find meaning or understanding or joy or delight or something worthwhile, despite the mess of the world. Yesterday I described it this way: “MO is interested in that moment, albeit fleeting, of clarity that opens you up, or opens to you, inviting you in.” So, MO wants to find a way in. Maybe Emily Dickinson does too, but, with her emphasis on Circumference–the edges, seams, periphery, the perimeter, she also urgently wants to find a way out, an exit.

Mary Oliver is a big fan of Walt Whitman (she has a brief essay in Upstream titled, “My Friend Walt Whitman”). Could this be point where her differences with ED are visible? Here’s what Joyce Carol Oates says about the differences between ED and WW in her introduction to Essential Emily Dickinson:

Between them, our great visionary poets of the American nineteenth centry, Emily Dickinson and Walt Whitman, have come to represent the extreme, idiosyncratic poles of the American psyche: the intensely inward, private, elliptical and “mystical (Dickinson); and the robustly outward-looking, public, rhapsodic and “mystical” (Whitman). One declared: “I’m Nobody! Who are you?” The other declared: “Walt Whitman, an American, one of the roughs, a kosmos…”

Here, ED’s understanding of in is being outside the world, and WW’s out is being fully inside it (at the center?). I think this in/out, private/public, introvert/extrovert is too reductive. Still, it is helpful as a way to start thinking about the differences. In her essay on her friend, Whitman, MO writes this about why she values him:

Whitman’s poems stood before me like a model of delivery when I began to write poems myself: I mean the oceanic power and rumble that travels through a Whitman poem–the incantatory syntax, the boldness affirmation. In those years, truth was elusive–as way my own faith that I could recognize and contain it. Whitman kept me from the swamps of a worse uncertainty, and I lived many hours within the lit circle of his certainty, and his bravado. “Unscrew the locks from the doors! Unscrew the doors themselves from their jambs!” And their was the passion which he invested in the poems. The metaphysical curiosity! The oracular tenderness with which he viewed the world–its roughness, its differences, the stars, the spider–nothing was outside the range of his interest. I reveled in the specificity of his words. And his faith–that kept my spirit buoyant surely, though his faith was without a name that I ever heard of. “Do you guess I have some intricate purpose? Well I have…for the April rain has, and the mica on the side of a rock has.”

Upstream/ Mary Oliver

Such bold, confident, excessive declarations! I wonder if Susan Howe has anything to say about this in My Emily Dickinson when she writes about ED’s new grammar grounded in humility and hesitation? Lots to digest here. Now I want to read more about ED’s faith and her understanding of Circumference and how it’s positioned in relation to inside and outside.

Here are 2 MO poems, originally from Swan, that I found in Devotions:

I Worried/ Mary Oliver

I worried a lot. Will the garden grow, will the rivers
flow in the right direction, will the earth turn
as it was taught, and if not how shall
I correct it?

Was I right, was I wrong, will I be forgiven,
can I do better?

Will I ever be able to sing, even the sparrows
can do it and I am, well,
hopeless.

Is my eyesight fading or am I just imagining it,
am I going to get rheumatism,
lockjaw, dementia?

Finally I saw that worrying had come to nothing.
And gave it up. And took my old body
and went out into the morning,
and sang.

Don’t Hesitate/ Mary Oliver

If you suddenly and unexpectedly feel joy,
don’t hesitate. Give in to it. There are plenty
of lives and whole towns destroyed or about
to be. We are not wise, and not very often
kind. And much can never be redeemed.
Still, life has some possibility left. Perhaps this
is its way of fighting back, that sometimes
something happens better than all the riches
or power in the world. It could be anything,
but very likely you notice it in the instant
when love begins. Anyway, that’s often the
case. Anyway, whatever it is, don’t be afraid
of its plenty. Joy is not made to be a crumb.

april 3/RUN

2.15 miles
2 school loop: Cooper and Howe
60! degrees

Spring! 60 degrees and sunny just before noon. No snow or ice, all melted. Shorts and one long-sleeved shirt (bright yellow). Nice. Did a short run today because it’s Saturday and I’ve already run 3 days in a row. Listened to my playlist–“Leave the Door Open,” “I Feel for You,” “Levitate,” and “I Forgot that You Existed.” As I listened to the last one, I imagine that the You in the song was all of my worries–about pandemics and sinus infections and headaches and kids getting together with their friends and white supremacy and racial injustice and climate crisis and and and…. It worked (I guess until I listed them here). Ran on the sidewalk through the neighborhood, nowhere near the river. I figured it was too crowded.

I have “officially” decided that April is a month for Mary (Mary Oliver). I will read her poems, some interviews, her memoir Upstream, and whatever else I might find and be moved to read/hear/watch. Today’s poem: April

April/ Mary Oliver

I wanted to speak at length about
The happiness of my body and the
Delight of my mind for it was
April, a night, a full moon and-

But something in myself or maybe
From somewhere other said: not too
Many words, please, in the muddy shallows the

Frogs are singing.

Many thoughts about this poem. I love the idea of putting aside words, or not needing words, to experience joy and delight. This makes me think of MO’s poem, The Real Prayers are Not the Words, But the Attention that Comes First. I’m also thinking of a passage I read in MO’s Upstream about the humility of the leaf-world:

Understand from the first this certainty. Butterflies don’t write books, neither do lilies or violets. Which doesn’t mean they don’t know, in their own way, what they are. That they don’t know they are alive–that they don’t feel, that action upon which all consciousness sits, lightly or heavily. Humility is the prize of the leaf-world. Vainglory is the bane of us, the humans.

Upstream/ Mary Oliver

Wanting to express joy and delight in words is not always motivated by hubris, and not using words doesn’t always signal its lack. Often I search for better words to connect (with others, with ideas) and I appreciate suspending words because too many words hurts the weakening cone cells in my eyes. But, I do find that often the people who won’t shut up (with their voices or their long-winded writing) could use some humility; they should listen to the frogs more.

Speaking of frogs, I’m reminded of ED’s strange poem, “I’m Nobody! Who are You?” In it, there’s a frog: “How public — like a Frog!/To tell one’s name — the livelong June — /To an admiring Bog!” ED’s frog seems very different, very public, very Somebody. But, is that right? I looked up “Emily Dickinson frog” and found an amazing article: The Poems (We Think) We Know: Emily Dickinson. I am so delighted to have uncovered this essay–to learn more about this poem, about frogs, about ED, about poetry and its purposes. This article makes me want to read Mary Oliver beside Emily Dickinson–and I think I will all this month. What interesting conversations they might have had!

Anyway, back to frogs. According to the author of the ED article, Alexandria Socarides, frogs were a favorite for 19th century writers, including Poe, Twain, and Thoreau. Here’s how Socarides links Thoreau and Dickinson:

If Dickinson was listening to frog-sound with the same attention as Thoreau, which I think she was, then what is it that she learned from them? What do these old, lazy creatures have to say? Part of the point of the second stanza of “I’m Nobody! Who are you?” is, as with Thoreau’s passage above, that frogs say the same thing over and over again, that there is no sense to be made of their guttural noises, that there is no meaning in the same name said on a loop. But what lurks in both acts of listening is the awareness that there is a kind of beauty to nonsense sounds, a beauty that only the bog itself (and maybe the poet in the bog) can recognize. 

The Poems (We Think) We Know: Emily Dickinson

Returning to Oliver, I’m thinking about one purpose of the frog in her poem. When I searched “Mary Oliver frog” I found a helpful essay, Mary Oliver’s Nature and this poem by MO: What We Want

In a poem
people want
something fancy

but even more

they want
something inexplicable
made plain,
easy to swallow

The frog’s singing as plain but inexplicable, and easy to listen to? I like the idea of something inexplicable made plain, but I’m not sure about the “easy to swallow” part. My inclination is to not like it because I don’t like things to be easy to swallow, and I don’t think poetry is about giving us “easy to swallow” things. But, there’s something deeper about faith, belief, a refusal to be skeptical, and a turn to a different understanding of mystery/ineffability that doesn’t demand confusion and discomfort and utter disorientation that I appreciate about MO’s poem. I want to think about this idea more, and push myself to take it seriously. Is this understanding of what to do with the inexplicable–MO seems to want to make it plain and accessible, while ED seems to want it to unravel you (she writes about poetry as that which makes the top of your head come off–a fundamental difference between the two poets? I’d like to explore it more.

note: just after posting this entry, I looked up MO’s poem “What We Want” and found the rest of it, which I think is helpful for pushing at the ideas more:

not unlike a suddenly
harmonic passage

in an otherwise
difficult and sometimes dissonant
symphony—

even if it is only
for the moment
of hearing it.

MO is interested in that moment, albeit fleeting, of clarity that open you up, or opens to you, inviting you in. Much more I’d like to say about this, but I’ll leave it that for now. I have a whole month to explore it!

One more frog mention: I’m not sure it’s possible to post about poetry and frogs without including Basho’s most famous haiku:

Old pond — frogs jumped in — sound of water.
Translated by Lafcadio Hearn

Mastuo Basho’s Frog Haiku (30 translations)

april 2/RUN

3.2 miles
neighborhood + Howe loop
42 degrees
wind: 15 mph with gusts 33 mph

The wind has returned, trying to slow me down for half of the run, speed me up for the other half. It didn’t bother me too much and, because of it, I got to hear lots of cool wind chimes. Ran on the sidewalk, the street, the trail, the grass. Past 2 elementary schools, one high school, a daycare at a church. Above the river, beside the boulevard, through the tunnel of trees. Saw the Daily Walker just leaving the trail, heading home. Thought about calling out, but decided that might be a little strange since I was behind him and not that close. I remember starting to think about my Emily Dickinson exercise for March. Did I come up with any ideas? I don’t think so. If I did, only the wind knows, I guess. Noticed the shadow of a bird moving very fast. Heard the “feebee” call of the black-capped chickadee. Don’t remember hearing any geese or pileated woodpeckers or cardinals or warblers or mourning doves. When I reached Howe school, I turned on a playlist for the last few minutes.

Gross runner moment: Watched as a drop of sweat below my nose suddenly flew off my face and far off into the air when the wind picked up. Even though I don’t have covid, I’m very glad no one was around. Gross and scary, witnessing how far sweat can fly.

It’s April 2nd, and I’m thinking about how to build off of my March with Emily Dickinson. Maybe focus on circumference? Not sure. After encountering this discussion of ED’s use of bees, and then randomly finding a bee poem by Mary Oliver, I’m thinking about bees. Yes, I like the idea of focusing on bees, flies, and beetles. I can think of many poems from ED, this one from Mary Oliver, at least one from Maggie Smith, and one about flies, When I come home they rush to me, the flies by Aracelis Girmay (and here).

Dickinson used the bee, a favorite symbol of Isaac Watts’s, as a defiant counter-emblem to his hymns. Her bees are irresponsible (138, 1343), enjoy la dolce vita (1627), and are pictured as seducers, traitors, buccaneers (81, 128, 134, 206, etc.).

Here’s the Mary Oliver bee poem I found:

hum/ mary oliver

What is this dark hum among the roses?
The bees have gone simple, sipping,
that’s all. What did you expect? Sophistication?
They’re small creatures and they are
filling their bodies with sweetness, how could they not
moan in happiness? The little
worker bee lives, I have read, about three weeks.
Is that long? Long enough, I suppose, to understand
that life is a blessing. I have found them-haven’t you?—
stopped in the very cups of the flowers, their wings
a little tattered-so much flying about, to the hive,
then out into the world, then back, and perhaps dancing,
should the task be to be a scout-sweet, dancing bee.
I think there isn’t anything in this world I don’t
admire. If there is, I don’t know what it is. I
haven’t met it yet. Nor expect to. The bee is small,
and since I wear glasses, so I can see the traffic and
read books, I have to
take them off and bend close to study and
understand what is happening. It’s not hard, it’s in fact
as instructive as anything I have ever studied. Plus, too,
it’s love almost too fierce to endure, the bee
nuzzling like that into the blouse
of the rose. And the fragrance, and the honey, and of course
the sun, the purely pure sun, shining, all the while, over
all of us.

I love the line: “the bees have gone simple, sipping.”

Mary Oliver has been criticized for being too simple or R/romantic, not poetic enough, too accessible. And, in the years before her death, she was often not taken seriously. I love Mary Oliver and when I read this poem I don’t think of it as an “easy” romantic poem just about how great bees are. This poem is the declaration of someone who has done and is still doing the very difficult work of learning how to notice and love the world–every bit of it, no matter how small or how broken (here I’m thinking of her line in “Invitation”–“believe us, they say,/ it is a serious thing/just to be alive/on this fresh morning/in this broken world”). She writes:

I think there isn’t anything in this world I don’t
admire. If there is, I don’t know what it is. I
haven’t met it yet. Nor expect to.

That’s impressive and something I aspire to. For several years now, I’ve been working to find delight in these small moments, to recognize them as enough, more than enough, to make life fulfilling, to ensure flourishing. I’m getting closer, but I’m not there yet. There are things I don’t admire and, too often lately, I’ve thought about them more than the things I do admire. Maybe I should spend a month with Mary Oliver instead of with insects? Or maybe I should save the insects for a month that’s filled with them–May or June? Yes, I have decided. April is for Mary (Oliver)! I think yesterday’s poetry sighting was the nudge I needed:

Seen in the neighborhood on a house that likes to put poetry on their front windows.

april 1/RUN

3.25 miles
turkey hollow
31 degrees

Much less wind today–5 mph instead of 12-15. So bright, cool, not too crowded. Encountered a few people on the trail but was able to keep at least 6 ft of distance. Is 6 ft still the recommended distance? I know it is probably very low risk to run past another person, only being close to them for a second, but I’m still uneasy when I encounter someone. During the run, I think it was near Becketwood, I imagined how relieved I’ll be when I finally get the vaccine. I will run on the trails with much less anxiety, still keeping a distance (I’ve always done that, even in the before times), but not worrying that every person I met is a loaded gun (loaded with a deadly virus). That day may be coming soon–vaccines are open to everyone as of March 30th. After I write the entry, I’m putting us on all the waiting lists.

Heard lots of birds as I ran, especially cardinals and black-capped chickadees. After reaching turkey hollow and heading up the hill on 47th, I was welcomed with a symphony of bird sounds. Not sure what all the chirps and trills and tweets were, but I loved having their motivating and distracting soundtrack as I climbed. Other things I remember hearing: the sharp, brittle crack of a branch as I ran on it, the shuffling of my feet on the gritty sand, and dog collars clanging below me on the Winchell trail and off to the right, in the grass between the river road and edmund.

I ran on the trail, above the oak savanna, the Winchell trail, and the river. It was sunny so the river was sparkling. Today I remember it looking brown. Is that right? Shouldn’t it be blue? Pretty sure I remember it as brown with a shimmer of light. Also noticed several of the benches, perched on the edge of the bluff, staring out through the bare branches to the other side. And, I took note of shadows, not mine, but the shadows of birds flying over my head. Quick flashes of dark moving past me. I can’t remember if they were big shadows or small shadows; they were just bird shadows.

I’m thinking of spending another month with Emily Dickinson, or at least partially with ED. I want to focus on the peripheral–peripheral vision, ED’s circumference, other ideas about slant/sideways/beside as they are used and expressed in poetry (and maybe lyric essays too?).

Here’s a poem not directly related to that topic, but that I found in The New Yorker and wanted to remember:

Privacy/ Ada Limón

On the black wet branches of the linden,
still clinging to umber leaves of late fall,
two crows land. They say, “Stop,” and still I want
to make them into something they are not.
Odin’s ravens, the bruja’s eyes. What news
are they bringing of our world to the world
of the gods? It can’t be good. More suffering
all around, more stinging nettles and toxic
blades shoved into the scarred parts of us,
the minor ones underneath the trees. Rain
comes while I’m still standing, a trickle of water
from whatever we believe is beyond the sky.
The crows seem enormous but only because
I am watching them too closely. They do not
care to be seen as symbols. A shake of a wing,
and both of them are gone. There was no message
given, no message I was asked to give, only
their great absence and my sad privacy
returning like the bracing, empty wind
on the black wet branches of the linden.

This reminds me of Ada Limón’s intereview on VS. podcast, where she talks about trying to let birds be birds, and that birds aren’t going to save her (or us) or serve as metaphors she thinks she needs. I love her use of the words still and stand/ing in proximity to each other. It reminds me of my favorite October poem (October/ May Swenson) when she writes: “Stand still, stare hard.” When Limón writes, “I’m still standing,” of course I first thought of Elton John’s song (ha ha), but then I read those words, maybe for the first time, not as “I’m continuing to stand” but as “I’m a still-stander or someone who is engaged in the practice of standing without moving, standing still.” Very cool. I like the idea of being a still-stander. Speaking of the word still, I like how she uses it three times. I imagine it as a hidden message: be still, as in calm, quiet, not expecting or worrying about anything, just being where you are, not moving or doing.

march 31/RUN

2.1 miles
neighborhood
33 degrees
wind: 13 mph with gusts, 21 mph

Quick run in the wind and the cold after returning home. A visit with 2 fully vaccinated grandparents! Hopefully soon, we will be too. First time away from Minneapolis since October. Not too far into my run, I heard a pileated woodpecker. Not drumming, but singing. Also heard a black-capped chickadee and their fee-bee song. Can’t remember any other bird calls. Guess the wind was singing louder. Speaking of the wind, heard lots of wind chimes, especially at the house at the corner of 43rd and 32nd. Such a cacophony! Ran down towards the river but stayed on edmund. When I crested the hill, I glanced down but couldn’t see any sparkling river through the trees.

note for me to remember: On the 29th, I memorized ED’s “I felt a cleaving in my Mind–.” That night, I got a headache that came in waves, not feeling like my brain had split but like I wished it would, so I could take the top of it off to relieve the pain and pressure. Ugh! I am a wimp with headaches because I rarely get them. And because I rarely get them, they make me worry more: I never get headaches? Why now? What’s the cause? Is this the start of something worse? I’ve had a few more since then, not quite as bad. I think (am hoping) that they’re caffeine headaches. The grandparents make much weaker coffee (1 scoop of coffee for 6 cups of water), while I make really strong coffee (I scoop of coffee for 1 cup of water).

Here are the final 2 poems in my March with Emily Dickinson. They’re connected to “I felt a cleaving in my Mind–” with the ball and the seam, which speak to ED’s interest in circumference.

I felt a Cleaving in my Mind–
As if my Brain had split–
I tried to match it–Seam for Seam–
But could not make them fit.

The thought behind I strove to bind
Unto the thought before–
But Sequence ravelled out of Sound–
Like Balls upon a floor.

Emily Dickinson Poems: March 30th and 31st

I saw no Way — The Heavens were stitched — (1863)

I saw no Way — The Heavens were stitched —
I felt the Columns close —
The Earth reversed her Hemispheres —
I touched the Universe —

And back it slid — and I alone —
A Speck upon a Ball —
Went out upon Circumference —
Beyond the Dip of Bell —

As I just discovered, the Balls in “I felt a Cleaving in my Mind–” could be balls of yarn. The ball in this poem is the Earth. Another connection: instead of seams, we have stitches. ED likes the word and idea of Circumference. Lots of entries in the Emily Dickinson lexicon, which is a super handy resource: periphery, circuit, edge, skull, perspective, view, vista.

I might have a lot of fun with this idea of circumference, especially in relation to a new vision project I’d like to start: on peripheral vision. Very cool.

I found another version of this poem on the amazing blog project, White Heat. It’s in their week of posts about Circumference. It follows ED’s original manuscript and its line breaks.

I saw no Way – The
Heavens were stitched – 
I felt the Columns close – 
The Earth reversed her
Hemispheres – 
I touched the Universe – 

And back it slid —
And I alone —
A Speck opon a Ball
Went out opon Cirum —
ference —
Beyond the Dip of Bell.

Without this — there is nought — (1862)

Without this — there is nought —
All other Riches be
As is the Twitter of a Bird —
Heard opposite the Sea —

I could not care — to gain
A lesser than the Whole —
For did not this include themself —
As Seams — include the Ball?

I wished a way might be
My Heart to subdivide —
‘Twould magnify — the Gratitude —
And not reduce — the Gold —

Here’s something interesting PB has to say about this poem and curcumference and seams and balls:

The second stanza advances our understanding a little, for we learn that the poet wants the “Whole” rather than some lesser quantity or quality that would be subsumed by the whole. Dickinson uses a ball as an example. Made by stitching leather or fabric together, the ball might be considered interior to the seams encompassing it. I am reminded of Dickinson’s poetic project of circumference. She announces this project in a letter to her chosen “Preceptor”, T.W.Higginson:

“Perhaps you smile at me. I could not stop for that – My Business is Circumference –…” (L268, July 1862).

In a later poem she calls “Circumference” the “Bride of Awe.” At least part of Dickinson’s poetic quest is to trace the seams, to see the whole.

the Prowling Bee

Here’s a source I’d like to track down and read about ED and circumference in “I Saw no way — The Heavens were Stitched–“:

Gribbin, Laura. “Emily Dickinson’s Circumference: Figuring a Blind Spot in the Romantic Tradition.” The Emily Dickinson Journal 2. 1 (Spring 1993): 1-21; 3-4.

March 29/RUN

2.65 miles
austin, mn
56 degrees
wind: 24 mph, 35 (gusts)

In Austin (mn) for the kids’ birthday—RJP is 15, FWA is 18! Ran with Scott through the neighborhood. So windy and warm. For the first mile, my legs felt like inflexible stumps. They didn’t hurt, just seemed stiff. Scott agreed. I wonder, is the pavement harder here in Austin? Do they use a different material than in Minneapolis? We talked as we ran but I can’t remember the conversation. Maybe something about the start of the Chauvin trial? I can’t wait until it’s over; I hope it ends with justice.

Nearing the end of my Emily Dickinson month. I am deeply grateful that I decided, almost on a whim, to spend a month with her words and her life. Today’s poem comes from “the Essential Emily Dickinson,” selected and with an introduction by Joyce Carol Oates:

I felt a Cleaving in my Mind—/ Emily Dickinson

I felt a Cleaving in my Mind—
As if my Brain had Split—
I tried to match it—Seam by Seam—
But could not make them fit.

The thought behind I strove to bind
Unto the thought before—
But Sequence ravelled out of Sound
Like Balls—upon a Floor.

Wow, this poem. Her descriptions of coming undone, physically and mentally, are incredibly powerful. I want to memorize this one.

note from march 31st: I found a brief analysis of this poem and they suggested that the balls in the last line are balls of yarn. Very helpful. Why didn’t I think of that? Not sure, but it totally works with the ravelled of the previous line. Ravelled can mean frayed or unraveled or pulled apart/undone.

march 27/RUN

2.4 miles
edmund loop, heading north
43 degrees


A short run to test out the knees and the back. Not too bad. Inspired by a video of my niece singing “Dr. Horrible” this morning, I listened to it while I ran. It made me smile. I find listening to music often makes it easier to get a first or second layer runner’s high (as opposed to Jaime Quatro’s third layer of running as prayer). Listening to music, I didn’t hear anything else. No birds or conversations or beeping trucks or clicking bike wheels. No shshshushing of my feet on the sandy grit. No in and out of my breath.

The morns are meeker than they were—/ Emily Dickinson

The morns are meeker than they were—
The nuts are getting brown—
The berry’s cheek is plumper—
The Rose is out of town.

The Maple wears a gayer scarf—
The field a scarlet gown—
Lest I should be old fashioned
I’ll put a trinket on. 

I think I’ll add this poem to my collection of fall poems to recite as I walk and run by the gorge in October. I love the line, “The Rose is out of town.” And I enjoy PB’s analysis of the poem:

…it’s a wonderfully female world. I like that for while Spring is usually linked to feminine procreation and blossoming, I tend to think of Autumn as male. It is a brooding time; harvest always leaves behind empty vines. It is “mankind” who harvests Mother Nature’s bounty, and this provides a rather masculine stance. But Dickinson goes all in for Autumn femaleness here. The only male presence are the brown nuts , and they are neatly paired with the plumping berries. Who knows – the Rose might have retired herself more out of propriety than dislike of the cold. Since she is gone the rest of the girls can have some fun. Maple and Field are getting dressed up and now so is the poet.

the Prowling Bee (PB)

And here’s another poem I discovered yesterday on the poet Maggie Smith’s instagram feed.

Meditations in an Emergency/ Cameron Awkward-Rich

I wake up & it breaks my heart. I draw the blinds &
the thrill of rain breaks my heart. I go outside. I
ride the train, walk among the buildings, men in
Monday suits. The flight of doves, the city of tents
beneath the underpass, the huddled mass, old
women hawking roses, & children all of them,
break my heart. There’s a dream I have in which I
love the world. I run from end to end like fingers
through her hair. There are no borders, only wind.
Like you, I was born. Like you, I was raised in the
institution of dreaming. Hand on my heart. Hand
on my stupid heart.

Love this. Thinking about this idea of “break my heart” like Mary Oliver’s use of it in her poem, Lead:

I tell you this
to break your heart,
by which I mean only
that it break open and never close again
to the rest of the world.

And, one more poem, or part of a poem. When I looked up “Meditations in an Emergency,” Frank O’Hara’s poem came up first. Here’s a part I especially liked:

 However, I have never clogged myself with the praises of pastoral life, nor with nostalgia for an innocent past of perverted acts in pastures. No. One need never leave the confines of New York to get all the greenery one wishes—I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life. It is more important to affirm the least sincere; the clouds get enough attention as it is and even they continue to pass. Do they know what they’re missing? Uh huh.

march 26/WALK

1.5 miles
mississippi river gorge
31 degrees

I wanted to run this morning, but my body and I decided that we should take another day off from it. For the last year, I’ve been running more frequently, almost every day. Mostly my body feels okay, but my back is a little sore and so are my knees. Instead of the run, I took Delia on a walk. For the first time this year, we left the paved path and descended the set of worn wooden steps that I wrote about in one of my haibuns:

6. Above the Ravine

Even now with the green glut gone, the bare bones of forest exposed, the ravine is hidden. Leave the paved path near the road and descend a set of worn wooden steps. Follow the remnants of a chainlink fence deeper to a grated walkway not quite above a seep of water slicking the metal slats. Stand still, listen up. Hear the water dribble out of the sewer pipe, over the limestone ledge, down to the river. Imagine that the painted keys, fastened with wire rings to the wrought iron fence in the summer of 2017, are still there, offering a way in.

Sometimes when you want
to enter, all that’s needed
is a key that fits.

Very cool. The steps were even more worn but the dirt was dry and so were the metal slats. I could hear the water trickling down to the forest floor. It was overcast, so no blue, only brown everywhere. As we ascended on the other side, I could hear the clickity-clacking of a roller skier! My first sighting this year. These skiers don’t waste any time switching from wood to wheels. I wonder, which they miss most: sliding on the snow when it’s summer, or rolling on the asphalt when it’s winter? I would imagine the snow, but who knows?

Emily Dickinson: Yellow

For as long as I can remember, green has been my favorite color and yellow my least. But lately–as in the last 3 or 4 years–I’ve grown to appreciate yellow. I keep intending to buy some yellow shoes or a yellow shirt or a yellow something. Maybe this spring I finally will? What does that have to do with Emily Dickinson and yellow? My poem for yesterday was “A lane of Yellow and the eye” and, after reading it and thinking about my new fondness for yellow, I decided to search for yellow poems over at the Prowling Bee. Here are 3 (“A lane…” and 2 more I found) that interested me:

One: Yellow as highlighter, calling attention

A lane of Yellow led the eye (1650)/ Emily Dickinson –

A lane of Yellow led the eye
Unto a Purple Wood
Whose soft inhabitants to be
Surpasses solitude
If Bird the silence contradict
Or flower presume to show
In that low summer of the West
Impossible to know –

I love this first line and how she describes the early evening (would you call this the gloaming or twilight?)–the purple woods, the quiet, the soft inhabitants, the sun setting as “the low summer of the West.” The “soft inhabitants” makes me think of how in dimmer light everything looks softer, fuzzier. I enjoy this in the winter, walking outside right before the sun sets, noticing how soft the tree branches look. Of course, because of my cone dystrophy, I have this dim view much more frequently than a normally sighted person. Often, all I see are soft inhabitants. Mostly, I don’t mind. I like this phrase–soft inhabitants. I think I’ll try to use it in my writing sometime instead of fuzzy forms.

I also like this image of someone at the edge of a wood (either standing at the edge, or peering into the wood from a window which is what I imagine ED might be doing) and wondering what’s in it, but not being able to tell. Here, the “impossible to know” is not a lament of someone on the outside, unable to enter, but an invitation to imagine what might be in there, a sense of delight in the mystery and possibility of it. I like running on the edge of the gorge, looking down into the thick trees, seeing a winding path, and wondering what/who could be in there that I can’t see. So many delightful, scary, interesting things!

ED writes frequently about circumference in her letters and poems. Is this an example of it?

Two: Yellow as excess (too bright, too cheerful, too much)

I dreaded that first Robin, so,/ Emily Dickinson (1862)

I dreaded that first Robin, so,
But He is mastered, now,
I’m accustomed to Him grown,
He hurts a little, though—

I thought If I could only live
Till that first Shout got by—
Not all Pianos in the Woods
Had power to mangle me—

I dared not meet the Daffodils—
For fear their Yellow Gown
Would pierce me with a fashion
So foreign to my own—

I wished the Grass would hurry—
So when ’twas time to see—
He’d be too tall, the tallest one
Could stretch to look at me—

I could not bear the Bees should come,
I wished they’d stay away
In those dim countries where they go,
What word had they, for me?

They’re here, though; not a creature failed—
No Blossom stayed away
In gentle deference to me—
The Queen of Calvary—

Each one salutes me, as he goes,
And I, my childish Plumes,
Lift, in bereaved acknowledgment
Of their unthinking Drums –

In her discussion of it, the Prowling Bee understands the coming of spring as a metaphor for the passing of time and that ED is depressed by the inevitability of death, creeping closer with each new singing robin or bright daffodil or buzzing bee. This makes sense, especially with the last verse–the childish Plumes, bereaved acknowledgment, their unthinking Drums. What if we also thought of it literally? Maybe ED can’t bear the robin because their Shout hurts her head or the Yellow of the Daffodil is too bright for her eyes or the droning of the Bees is too relentless for her ears? Maybe she’s having a migraine or is overwhelmed by the too-muchness of spring? In the comments, someone wrote: “I think of this poem whenever my springtime allergies kick in. :)” Yes, I love how ED captures the feeling of being physically overwhelmed by the senses. As I work to find better words to describe my physical feelings, I appreciate ED’s ability to do it so well.

Three: Yellow as light, all-powerful Sun

To interrupt His Yellow Plan/ Emily Dickinson (1863)

To interrupt His Yellow Plan
The Sun does not allow
Caprices of the Atmosphere —
And even when the Snow

Heaves Balls of Specks, like Vicious Boy
Directly in His Eye —
Does not so much as turn His Head
Busy with Majesty —

‘Tis His to stimulate the Earth —
And magnetize the Sea —
And bind Astronomy, in place,
Yet Any passing by

Would deem Ourselves — the busier
As the minutest Bee
That rides — emits a Thunder —
A Bomb — to justify —

I really appreciate PB’s (prowling bee) analysis here (and the comments by others too. Click on the poem to read all of it). Very helpful. I especially like her last bit about the Bee and her suggestion that ED is poking fun at Isaac Watt’s “Little Busy Bee”:

Now, as to Watts’ poem about the “Little Busy Bee”. The first two stanzas praise the bee who is industrious, skilful, and neat. Such attributes “Improve each shining hour”. The last two stanzas find the poet wanting to emulate the bee for two reasons: to lead a good life and to stay busy so that the Devil can’t make use of his ‘idle hands’.
        I imagine Dickinson reading this poem and finding it deeply ironic. Most of her countrymen were exposed to this poem. Many of them spent their childhoods “In books, or work, or healthful play” and later strove to be busy in ‘works of labor or of skill’. And yet rather than a society like the humming hive, they found no way out of their deep divisions except by busily building and employing the engines of war.

How doth the little busy bee
Improve each shining hour,
And gather honey all the day
From every opening flower! 

How skilfully she builds her cell!
How neat she spreads the wax!
And labors hard to store it well
With the sweet food she makes. 

In works of labor or of skill,
I would be busy too;
For Satan finds some mischief still
For idle hands to do. 

In books, or work, or healthful play,
Let my first years be passed,
That I may give for every day
Some good account at last.
                                     Isaac Watts, 1715

Yes! Lately I’ve been thinking a lot about the bullshit of busy work, which seems to be a lot of what work is these days. While Watts champions the busy work of bees, constantly contributing to the health of the hive, I wonder about the value of work now (which has made busy-ness and distraction an end in itself and that often doesn’t contribute to the greater health of the community)? What, in the 21st century in the midst of a global climate crisis and a pandemic that necessitates we do less, is work for? What is our work doing–to the world? to us? And, what work are we valuing most? Least?

Thinking about work in relation to religion and as a counter to Watt’s “idle hands do the devil’s work,” I’m reminded of David Naimon’s “Between the Covers” interview with Ross Gay:

DN: “What parts of my day, in relationship to the Earth, aren’t extractive on a species level versus relational and giving back?” It feels 99 to 1….I wonder about spiritual technologies that we used to use, like in its best form, the Sabbath where you’re not supposed to do anything that moves you forward in the world, you don’t exchange money, you don’t get in a car, you spend time with people you love, you attend to the moment with no sense of the future. It’s supposed to be this recreation of the Garden of Eden once a week but also, along with that, in the Bible, you were supposed to let the land rest every seven years….

David Naimon

Do we offer any meaningful space for rest now? (I don’t think so.) Why not?

Not sure if that totally makes sense, but I’m thinking about the limits and dangers of our understandings of work–who benefits from it, who is exploited by it, what does it produce/cause/contribute/harm? And, as we (in the US) live through this terrible time–ecological devastation, over half a million deaths from COVID-19, a divided nation, an unchecked/barely checked white supremacist capitalist patriarchy (see bell hooks for definition), suffering, extreme poverty, no safety net or support for the most vulnerable citizens–what has all our work achieved? I think this might come across as a little preachier and darker than I am intending. I am not trying to preach. Instead, I am struggling to make sense of my relationship to work and to contend with my extreme disappointment over how much we have been taught/encouraged/required to believe work = success and achievement, and how little that has prepared us to respond to our current crises in ways that are meaningful, caring, and reparative.