“We work in our own darkness a great deal with little real knowledge of what we are doing.” ~ John Steinbeck

“After the Snowfall,” by Jonas Lie (1908, oil on canvas)

“We pass through the present with our eyes blindfolded. We are permitted merely to sense and guess at what we are actually experiencing. Only later when the cloth is untied can we glance at the past and find out what we have experienced and what meaning it has.” ~ Milan Kundera, from Laughable Loves

Wednesday afternoon. Snow on the ground, 30 degrees.

Today is my father’s birthday. It’s strange, isn’t it, the dates that you continue to mark on your calendar? Dates that no longer have any connection to a living person, and dates that are still connected to a person, but that person is no longer in your life. For example, every year on October 1, I remember Mari’s birthday, and on November 1, Kathleen’s. Perhaps that is because of the synchronicity of their prime number. Who knows. Regardless, I still mark so many things on my calendars at the beginnings of each year, even though no celebrations or commemorations will be had.

“Barge in the Snow,” by William Degouve Nuncques (1911, oil on canvas)

Today, I’m thinking a lot about my days at the Museum. I loved that place. And I hated that place. Wait. I loved the place, hated some of the people. That’s more accurate.

I still remember using my swipe card to enter through back doors within the galleries—that simple movement seemingly conveyed so much power to me. Any time I felt nervous or anxious, I would wander through the galleries, just drinking in the colors and textures. A museum is truly a wonderful place to work, as long as you don’t have to deal with the board of directors, that is.

But I miss those days even though my tenure ended badly when the museum had sweeping budget cuts, and I was deemed unnecessary. The days that followed my departure were dark in so many ways, and in reflecting on them, I realize that they contributed directly to the end of my first marriage, not that there weren’t already problems. I spent a great deal of time away from home, just trying to lose myself, and eventually, I lost my marriage.

Not regrets. Just facts.

“We create what we remember
to survive all we never had.
In a hall, darkened by exterior glitter,
my father scolds me
for anticipating his gift more than his return.
I am small but I slide an immense distance . . . ” ~ Marlève Rugo, “On Not Being Able to Write”

Of course there are regrets. I mean, I cast by the wayside two, no three friendships from the museum that had been very important to me. I cannot tell you why, now, only that at the time, I wanted to cut so many ties because I was in so much pain, wanted to be free of everyone and everything , which, of course, you simply cannot do. Not unless you are 6 years old.

So those people who I cast off in my attempts to recapture something that I thought that I had lost? I don’t know where they are now or how they are doing, but I think of them often and wish that I had been a better friend.

“Early Snow,” by Walter Launt Palmer (nd, oil on canvas)

Actually, friendship has always been difficult for me. There have been times when I have have had brutal arguments with a friend and then immediately severed all ties. Who does that? Well, I suppose, I do, or rather, I did. But were those truly friends, or just acquaintances? It’s both hard and easy for me to make friends. I make instant connections with people, and sometimes, those connections prove to be less than healthy, and sometimes they prove to be powerful forces in my life.

My oldest and dearest friend from my youth died a few years ago from lung cancer. I did not see her before she died, just as I did not see Allan before he died. Yes, regrets, major regrets. Do I set myself up for regrets? Perhaps.

“There is a great deal of unmapped country within us which would have to be taken into account in an explanation of our gusts and storms.” ~ George Eliot

I’ve been listening to some newer artists and some old favorite artists in an attempt to populate my posts with new tunes to accompany my words. I’ve found quite a few already. Let me know, dear reader, what you think of those I’ve included recently, or if you have any suggestions.The weird thing is that when I stopped writing, I also stopped listening to music all of the time. I couldn’t possibly explain why that is, especially as music has always been a very important part of my life.

I’m particularly partial to the Sara Bareilles’ tune “She Used to be Mine.” It hits very close to home. I feel as if I’ve been so many people over the years, none of them traditional or expected or normal, whatever that is. I truly wonder if everyone feels like that. I mean, it’s more than having certain attitudes in your teens, and then different attitudes in your 40s. I would expect that such things happen to everyone.

“Albany in the Snow,” by Walter Launt Palmer (1871, oil on canvas)

It’s more that when I look back on my life, I see different people. I see someone who was fiercely aggressive in her career while working for the government contractor. I see someone who loved to be at the front of the classroom, making wisecracks and listening to students while at the university. I see a woman who refused to compromise and then one who compromised too much.

Are they all the same me? No. Yes. I don’t know.

Damn. Shouldn’t I know who I am, by now? People think that I’m joking when I say that I’m still trying to figure out what I want to be when I grow up. But truly, I still don’t know, and chances are good that I won’t know when I close my eyes for the last time.

C’est vrai.

“There are men who carry dreams
over mountains, the dead
on their backs.
But only mothers
can walk with the weight
of a second beating heart.” ~ Ocean Vuong, from “My Mother Remembers Her Mother”

I’ll tell you something else that’s strange, even though I’ve said it before in different ways: I miss being pregnant. My body responded well to being pregnant, mostly. Perhaps my body, not so much, but more my spirit. When I was pregnant, I felt completely at home in myself. There have been no other times in my life when I have felt that way.

“Approaching Snow,” by Tom Thomson (1915, oil on board)

Fore more years than I can remember, I have wanted to have another daughter, another girl child to birth and to care for, but that never happened, and now, it’s much too late. And is that fate? Karma? What? God knows millions of women who want children are never able to have them, so am I being selfish in wishing that I could have had just one more? Maybe I am, but wishing never made it so, and so the point is moot, is it not? Regardless (once upon a time, I thought the word was irregardless), I still feel the desire keenly, and I find that strange as I always believed that the older I became, that the wiser I would be, and I truly believed that I would not still have yearnings that were impossible. Odd, that . . .

And now Olivia lives hundreds of miles away, and every day I wonder if she remembers me. I never understood before how a grandchild could affect me in so many ways, but it is completely unlike your own child, a different kind of love, a love that is somehow less selfish because in a grandchild, you do not invest your own future so much. Am I confusing you, dear reader? If so, I do apologize, but it’s not something you can really understand until it happens to you, and then it’s not something that you can understand losing until it happens to you.

“I would listen to my heartbeat. I couldn’t imagine that this sound which had been with me for so long could ever stop.” ~ Albert Camus, from The Stranger

The afternoon wears on, and the sky seems to be darker than when I started, and it’s definitely colder. I worry that the horses are cold, even though all of the reading that I have done says that as long as they are eating well, they will not be cold. They definitely have plenty on which to graze. But still, I want to put blankets on them. I shall resist. For now.

I just had a strange memory: I remember being 15 and sitting in my boyfriend’s den and just weeping and weeping. My father was at sea, as usual, and I missed him desperately. My boyfriend’s mother was not a particularly nice woman, or maybe she was just plain-spoken, and I was too young to appreciate it. Anyway, she told me that it was just growing pains. I left in such a huff.

“After the Snow on the Field,” by Gustave Loiseau (1899, oil on canvas)

I mean, growing pains? Could anything be more insulting? or more accurate? I do not look back on my teens fondly. Everything was too intense. All of the new feelings and emotions, the new ways in which my body did what it wanted without my having any power over it. It was all just too much. I was so very certain that my first love would be my love for the rest of my life. Gawd. Thankfully, that proved to be very wrong.

But there really was a point to this reminiscence, a non sequitur though it be: I have always had a strong affinity with animals, and I have always anthropomorphized them, had ongoing conversations with them, given them human personalities, likes and dislikes, so the feelings about the horses are not unexpected. Nevertheless, I realize that if I’m going to survive on this farm that I’ve going to have to toughen my outlook somewhat. Still, I think the horses need blankets.

More later. Peace.


Music by Finneas, “Break My Heart Again”

Coming Home

When we’re driving, in the dark,
on the long road
to Provincetown, which lies empty
for miles, when we’re weary,
when the buildings
and the scrub pines lose
their familiar look,
I imagine us rising
from the speeding car,
I imagine us seeing
everything from another place — the top
of one of the pale dunes
or the deep and nameless
fields of the sea —
and what we see is the world
that cannot cherish us
but which we cherish,
and what we see is our life
moving like that,
along the dark edges
of everything — the headlights
like lanterns
sweeping the blackness —
believing in a thousand
fragile and unprovable things,
looking out for sorrow,
slowing down for happiness,
making all the right turns
right down to the thumping
barriers to the sea,
the swirling waves,
the narrow streets, the houses,
the past, the future,
the doorway that belongs
to you and me.

~ Mary Oliver

Frantisek Kupka The First Step 1909
“The First Step” (1909, oil on canvas)
by Frantisek Kupka

                   

“. . . I would sit down, still dizzy from the day’s sun, my head full of the white churches and chalky walls, dry fields and shaggy olive trees. I would drink a sweetish syrup, gazing at the curve of the hills in front of me. They sloped gently down to the sea. The evening would grow green. On the largest of the hills, the last breeze turned the sails of a windmill. And, by a natural miracle, everyone lowered his voice. Soon there was nothing but the sky and musical words rising toward it, as if heard from a great distance. There was something fleeting and melancholy in the brief moment of dusk, perceptible not only to one man but also to a whole people. As for me, I longed to love as people long to cry. I felt that every hour I slept now would be an hour stolen from life … that is to say from those hours of undefined desire. I was tense and motionless, as I had been during those vibrant hours at the cabaret in Palma and at the cloister in San Francisco, powerless against this immense desire to hold the world between my hands.” ~ Albert Camus, from “Love of Life”


 

My birthday is soon. I cannot begin to tell you how much I am not looking forward to this. You would think that it would be the opposite, that I as get older, I would welcome each birthday as an accomplishment, as a mark that I am still here, and yes, I am glad that I am still here. That is not the issue. The issue is the birthday itself. You see, I have never like having a birthday; this goes back to my early 20s. There was just something so depressing about the whole thing—yet another reminder that I have not set out to do in life what I thought I would do. I have done much. I have borne four children, lost one. I have loved and lost and loved again. I have attained degrees, yet not the one that I most desire. I have published, yet not the book that I know is hidden somewhere within me. I have received awards, met some wonderful people, discussed poetry and writing with some authors I truly admire, forged friendships that have made me a better person. I have much to be thankful for and much on which I can reflect and say, with some pride, “Yes, I have done this.” So you must wonder why I am still so dissolute, still so unfulfilled. I truly don’t know. I look at my life and think of all that has yet to be done, and wonder if I will in fact ever do it. I look at my life and see so many failures, so many shortcomings, so many regrets. Yes, I can temper all of that with successes, and achievements, and milestones. I think that it is just my temperament that I will never be truly satisfied with what I have done in life. I exist on a wafer-thin plateau of hope and regret, always, always wishing that somehow I were more, that somehow I had done more, said more, written more. You must think me vain and selfish. Perhaps I am, but I don’t really think so. It is human nature to what we we don’t have. I’m not talking about people, or even things. I’m talking about . . . markers. Notches on my walking stick. I so very much do not want to be this way, yet I am. I have been so many places throughout the world, sampled cuisines, seen vistas. I have read a bounty of works, and written more words than I have record of. And yet . . . who among us can say that she or he has done everything we set out to do? Few, very few. But that doesn’t mean that we cannot still dream, does it? No, I’ll never have Dr. in front of my name, or PhD after it. More’s the pity. I have no one to blame but myself, and that is true for most things. And yet . . .

                   

Music by Jake Owen, “We All Want what We Ain’t Got”

                   

Nights on Planet Earth

Heaven was originally precisely that: the starry sky, dating back to the earliest Egyptian texts, which include magic spells that enable the soul to be sewn in the body of the great mother, Nut, literally “night,” like the seed of a plant, which is also a jewel and a star. The Greek Elysian fields derive from the same celestial topography: the Egyptian “Field of Rushes,” the eastern stars at dawn where the soul goes to be purified. That there is another, mirror world, a world of light, and that this world is simply the sky—and a step further, the breath of the sky, the weather, the very air—is a formative belief of great antiquity that has continued to the present day with the godhead becoming brightness itself: dios/theos (Greek); deus/divine/diana (Latin); devas (Sanskrit); daha (Arabic); day (English).
—Susan Brind Morrow, Wolves and Honey

1
Gravel paths on hillsides amid moon-drawn vineyards,
click of pearls upon a polished nightstand
soft as rainwater, self-minded stars, oboe music
distant as the grinding of icebergs against the hull
of the self and the soul in the darkness
chanting to the ecstatic chance of existence.
Deep is the water and long is the moonlight
inscribing addresses in quicksilver ink,
building the staircase a lover forever pauses upon.
Deep is the darkness and long is the night,
solid the water and liquid the light. How strange
that they arrive at all, nights on planet earth.
2
Sometimes, not often but repeatedly, the past invades my dreams in the form of a familiar neighborhood I can no longer locate,
a warren of streets lined with dark cafés and unforgettable bars, a place where I can sing by heart every song on every jukebox,
a city that feels the way the skin of an octopus looks pulse-changing from color to color, laminar and fluid and electric,
a city of shadow-draped churches, of busses on dim avenues, or riverlights, or canyonlands, but always a city, and wonderful, and lost.
Sometimes it resembles Amsterdam, students from the ballet school like fanciful gazelles shooting pool in pink tights and soft, shapeless sweaters,
or Madrid at 4AM, arguing the 18th Brumaire with angry Marxists, or Manhattan when the snowfall crowns every trash-can king of its Bowery stoop,
or Chicago, or Dublin, or some ideal city of the imagination, as in a movie you can neither remember entirely nor completely forget,
barracuda-faced men drinking sake like yakuza in a Harukami novel, women sipping champagne or arrack, the rattle of beaded curtains in the back,
the necklaces of Christmas lights reflected in raindrops on windows, the taste of peanuts and their shells crushed to powder underfoot,
always real, always elusive, always a city, and wonderful, and lost. All night I wander alone, searching in vain for the irretrievable.
3
In the night I will drink from a cup of ashes and yellow paint.
In the night I will gossip with the clouds and grow strong.
In the night I will cross rooftops to watch the sea tremble in a dream.
In the night I will assemble my army of golden carpenter ants.
In the night I will walk the towpath among satellites and cosmic dust.
In the night I will cry to the roots of potted plants in empty offices.
In the night I will gather the feathers of pigeons in a honey jar.
In the night I will become an infant before your flag.
~ Campbell McGrath

“A man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.” ~ Albert Camus

Camus autumn


“Life can be magnificent and overwhelming—that is the whole tragedy. Without beauty, love, or danger it would almost be easy to live.” ~ Albert Camus

Monday afternoon. Rainy and warm, 74 degrees.

I have an appointment with my pain doctor today, am expecting a lot of trigger point injections in my back. Then I have to find a turkey, which I’m hoping isn’t too big of a deal on the Monday before Thanksgiving. Actually, I have to find two smallish turkeys: one for Mike to smoke, and one for Corey to deep fry. We’re trying something different this year. We shall see . . .

Anyway, not a lot of time to put together anything in any way coherent, so I thought I’d marry Camus and Bonnard in a lovely blend of autumn bliss. Enjoy . . .

Pierre Bonnard Autumn colon The Fruit Pickers 1912 oil on canvas
“Autumn: The Fruit Pickers” (1912, oil on canvas)
by Pierre Bonnard

“For the moment at least, the waves’ endless crashing against the shore came toward me through a space dancing with golden pollen. Sea, landscape, silence, scents of this earth, I would drink my fill of a scent-laden life, sinking my teeth into the world’s fruit, golden already, overwhelmed by the feeling of its strong, sweet juice flowing on my lips. No, it was neither I nor the world that counted, but solely the harmony and silence that gave birth to the love between us. A love I was not foolish enough to claim for myself alone, proudly aware that I shared it with a whole race born in the sun and sea,alive and spirited, drawing greatness from its simplicity, and upright on the beaches, smiling in complicity at the brilliance of its skies.”

~ Albert Camus, from “Nuptials at Tipasa”

                   

Music by Gregory Alan Isakov, “Light Year”