Seeking, Sought

Navarro Beach:

February 15, 2016

Clough: "In the Depths"

IN THE DEPTHS

It is not sweet content, be sure,
That moves the nobler Muse to song,
Yet when could truth come whole and pure
From hearts that inly writhe with wrong?

’Tis not the calm and peaceful breast
That sees or reads the problem true;
They only know on whom it has prest
Too hard to hope to solve it too.

Our ills are worse than at their ease
These blameless happy souls suspect,
They only study the disease,
Alas, who live not to detect.

--Arthur Hugh Clough

GMB: "I Gave It Back To The Sea, To Dance In"

BEACHCOMBER

Monday I found a boot –
Rust and salt leather.
I gave it back to the sea, to dance in.

Tuesday a spar of timber worth thirty bob.
Next winter
It will be a chair, a coffin, a bed.

Wednesday a half can of Swedish spirits.
I tilted my head.
The shore was cold with mermaids and angels.

Thursday I got nothing, seaweed,
A whale bone,
Wet feet and a loud cough.

Friday I held a seaman’s skull,
Sand spilling from it
The way time is told on kirkyard stones.

Saturday a barrel of sodden oranges.
A Spanish ship
Was wrecked last month at The Kame.

Sunday, for fear of the elders,
I sit on my bum.
What’s heaven? A sea chest with a thousand gold coins. 

--George Mackay Brown


from The Collected Poems of George Mackay Brown

Encouraging Apt Engagement?

When I encounter art of any sort, 
I find myself with these questions: 

What am I feeling now?
What is the piece saying?
What's the story (and backstory)?

[Oh, and how is it made?
--among many, many others.]

Now, my students usually want to start with "What does it mean?"

(A fine, though often
misleading or reductive
question to get to know
something, someone,
anything at all.
Where to begin,
then?)

Artists (and fellow audience-members), 
what responses 
and what responsive questions 
would you encourage 
me to encourage 
in my students?

Just Shy Of Fifty-Two

I've outlived Keats, Shelley, and Byron by a considerable margin with not all that much to show for it.

The heat is on, then, to make the second half-century count.  I embrace the challenge.

Lines: evidence of time passing, though not of any mere passive passage of time.  Maps to the country of character, of mishap and what-have-you.  A lack of sunscreen, certainly; plenty of squinting into the sun, commuting, driving across bridges, kayaking and diving out in the glare.  Pool-time and sea-time too: dried skin from the chlorine and salt.  And all that reading, of course, the concentration above all those pages . . . .  And yet, and this is something I wear with pride: more smiles than anything, frankly.  There's an aspiration, don't you think?  Crease your face with good will and cheer, if you dare.  (I'm smiling as I type that.)

There's a poem by Robert Graves that comes to mind, though he was older when he wrote it.  I'll post it in a day or so.

This year I've written at least one poem worth keeping, and that's a fine judgment, a fine declaration.  More would be better, but then that's homework to be dealt with in the next few months.

Just now, right now, I am toasting all of us with a bit of Bushmills.  Carry on, and live as large as you can.

May the devil . . . oh, you know.  And, here's to King Brian in the interim.  I'm drinking Irish, after all.

Mermaid, Seeking

Mermaid, Seeking: sculpture mix; sea foam glazing; copper wire; water.

Mermaid with a taste of rum.

Barry Lopez: "River Notes" and Questing

I have been crippled by my age, by what I have known, as well as by my youth, by what I have yet to learn, in all these inquiries.  It has taken me years, which might have been spent (by someone else) seeking something greater, in some other place.  I have sought only you.  Enough.  I wish to know you, and you will not speak.  

--Barry Lopez,
from River Notes: The Dance of Herons

I can't say enough how much this slim volume mattered, how much it made complex, made even more emotional and even more intricately verbal my relationship with nature and story, when I first discovered River Notes in Moe's Books of Berkeley, CA, so long ago in 1980.

On this recent rereading -- and River Notes is a book I reread more or less each year, haphazardly, piece by piece over all the months of the year -- I realized how much his chapter "The Salmon" prepared me for the art and artistry of Andy Goldsworthy and for so many of my own efforts in clay amidst sea and creek.

I've witnessed this writer giving a talk and reading one of his stories at least once --"The Mappist," at the Donna Seager Gallery in San Rafael -- and I took this rather intimate opportunity (such a small venue, a somewhat select gathering) to thank Barry Lopez for his body of work.  I'm glad I overcame my natural diffidence to do so.

The passage above spoke to me when I was a mere youth, not even 20, and speaks to me now, a bit over 50.  I like the appositive defining of age in terms of knowing, in terms of what we don't understand and of what we do, as well as the sad, even bitter tone.  Loss breathes through the passage, through most of the book, and Lopez's voicing of that theme, that truth, caught my ear, and the ear of my soul (if you will), even if I didn't--perhaps, still don't--truly understand wherein that sense of loss resides, takes form.  Recently, I have read an interview with Barry Lopez in which he reveals that the writing of River Notes, though a sequence of fictional narratives, was deeply informed by the death of his mother.

The book takes us from the seaside, the mouth of the river, upstream until we reach the headwaters, the source.  The last chapter, be warned, is entitled "Drought."  I'll hold off saying more, for I'd rather awaken curiosity and intimate mystery.  I have taught two chapters in particular a dozen times, I think: "The Bend" and "The Rapids."  Here's another passage from "The Salmon":

There is never, he reflected, a moment of certainty, only the illusion.   And as he worked among the rocks in the middle of the river he thought on this deeply, so deeply that had his movements not been automatic he would have fallen off the rocks and into the river and been borne away.

In the summer light, even with the coolness of the water welling up around him in the air, thinking was all he was capable of; and this distraction left him exhausted and unbalanced so that at the end of the day the physical exhaustion he felt was something he lowered himself into, as into a hot bath.  He pondered gentleness often.  And he tried to pry (hefting the stones, conscious of the resonance between the idea in his mind and the work of his hands) into mysteries which remained as implacable as the faces of the stones.


Thank you, again, Barry Holstun Lopez.

River Notes: The Dance of Herons
A Bard Book / Avon Books: New York,  November, 1980.

Voyage-charm: sculpture mix; floating blue glazing; matte finish.