Gold and Mud, and What I Mean by Kindness

Everything is within you, gold and mud, happiness and pain, the laughter of childhood and the apprehension of death. Say yes to everything, shirk nothing...You are a bird in the storm. Let it storm!" 

~ Hermann Hesse

During my gold year, I entered a process I metaphorically referred to as kintsugi, which refers to the Japanese art of repairing broken pottery with gold. (You can read my musings on that process and how it can apply metaphorically to the inner life here.) And where I stand now, it really does feel like I've been repaired.

Another metaphorical process related to gold that I contemplated last year was chrysopoeia, which is what the ancient alchemists called the transmutation of base metals into gold. According to everyone's good friend, Wikipedia, this transmutation "symbolized [the alchemist's] evolution from ignorance to enlightenment."

(And then there's this perspective, which I also like.)

I certainly don't claim to be enlightened, but I do feel like a transmutation has happened within me. I have these moments, fairly often these days, in which I'm profoundly thankful for my life. I've come through some shitstorms in the past few years, but now my inner and outer landscapes are pretty clear. Not perfect, of course; I still find annoyances and worse in my outer landscape, and pettiness and worse in my inner landscape.

The real difference is that I've learned to give myself a break, and in doing so, have discovered that I love my life just as it is, both the mud and the gold.  The transmutation has resulted in, if not enlightenment, at least a certain kindness.  But the way I mean kindness here is not really in the conventional sense of being super nice and thoughtful and generous; I am definitely not always those things (and am even sort of suspicious of people who are). No, it's more like recognizing that everything is kindness, and simply receiving that.

But I'll leave you with this, because the poet Naomi Shihab Nye writes about it much more eloquently than I:

Kindness

Before you know what kindness really is
you must lose things,
feel the future dissolve in a moment
like salt in a weakened broth.
What you held in your hand,
what you counted and carefully saved,
all this must go so you know
how desolate the landscape can be
between the regions of kindness.
How you ride and ride
thinking the bus will never stop,
the passengers eating maize and chicken
will stare out the window forever.
Before you learn the tender gravity of kindness,
you must travel where the Indian in a white poncho
lies dead by the side of the road.
You must see how this could be you,
how he too was someone
who journeyed through the night with plans
and the simple breath that kept him alive.
Before you know kindness as the deepest thing inside,
you must know sorrow as the other deepest thing.
You must wake up with sorrow.
You must speak to it till your voice
catches the thread of all sorrows
and you see the size of the cloth.
Then it is only kindness that makes sense anymore,
only kindness that ties your shoes
and sends you out into the day to mail letters and purchase bread,
only kindness that raises its head
from the crowd of the world to say
it is I you have been looking for,
and then goes with you everywhere
like a shadow or a friend.

The Little Things

To step over the south-facing threshold of this darkening house and out
into the surprising almost light, the winter smell of cold and diesel,

to turn one way, west, toward a silhouette of shoes,
laces tied together,
flung over a wire
beside so perfectly unstraight a stroke
of pulsing black, a pole,

then nine strides north to where
those two horses made of grass and wind
draw changing angles to the ground,
whose soft noses break

my green heart, oh what it is.

I had merely thought to smoke.

Why would I call these things little
when they live me
as the life I do not have,
as large as this only moment.

Arising

Today is St. Patrick's Day,
and
I have no ritual, no essay. 

What was his story again?
Something green, about snakes
and the Christ.  The only interest
this holy day holds for me
now is the Breastplate, the invocation.

I arise today
Through the strength of Heaven 

My stories are dissolving, fading out,
like the last scene of a movie
when the landscape goes
out of focus until all is golden light
filling the screen. 

Light of the Sun

My stories are riding into the sunset,
they are getting married, and I am
giving them away,
they are dying in their sleep
of old age.

Radiance of Moon

I am turning
to poetry.

Splendor of Fire

The question has been posed:
Your desert island book?
For me, a very large anthology
of sacred poetry spanning
all times and places.

Speed of Lightning

My back is to St. Francis and my stories
go down with the sun behind him.
I am facing Sister Clare, and even she
has nothing to tell
but Shine.

Swiftness of Wind

All the stories are a trick of mirrors
and light.  Forget the mirror -
who needs it, when you have the source?

Depth of Sea

I have told the story of why
I joined the church,
of the horrors of self-made religion,
wrong-headedness and failure, the need
for cleansing.  Yes.
But this is only the part
that happens in front
of the audience, there is
also the backstage,
the fear of glimpses
of utter reality, absolute freedom
and emptiness, which sitting
in a church soothed for a while.
Four walls, a safe structure,
a place to lick wounds,
a well-lit path at the edge
of a forest that can never stop
inviting.

Stability of Earth

Now
I see the forest and the trees
as I stand among them
with no exposition,
no tale of bread crumbs, bears, or witches
to frighten, console, or instruct,
with in fact nothing
but an endless poem
that both does and does not
need me to get itself heard.

Firmness of Rock

Big Ole Poetry Challenge

I was inspired recently by Eryl's post in which she discusses the meaning of the word "core."  She posted a drawing of the earth with a piece cut out of it to show the red and orange core.  It wasn't until I read this post that I made the connection between the second chakra and what is commonly called the core of the body.

I have also been inspired by Dan Gurney's emphasis on poetic forms lately, so rather than put together one of my usual convoluted essays, I decided to write a poem on the subject of the core.  I chose to make it a sestina, which is one of the most complicated forms to write.  The premise is that you choose six words which you use repeatedly at the end of each stanza, in a certain order.  You can read about sestinas and their intricate ordering here.

I've only written one other in my life, and it was handed to me by the muse in the shower one day.  This one, while not quite as easily given, was still not as hard as it seems like it should be.  I had no idea what I was going to write; I just chose six words that are interesting and relevant to me right now, and then it practically wrote itself.  There is something very freeing to me about writing in a strict form, the way strict choreography makes a dance more fluid.

I would like to challenge any adventurous blogger to play with this form, and then share what you came up with on your blog.  It's really a lot of fun, especially if you're a word nerd like me.  And I've realized that there's something about this form that lends itself to extraordinary magic.

Svadhisthana Sestina

If you're going to start at all, start from the core,
not with singing or speaking, but with quiet
breath.  Inhale and exhale the color orange,
let inspiration and expiration interlace
as the brilliance of the sun becomes the moon.
So begins the dance.  In and out, it spirals slow,

more than can be imagined, as the Earth was slow
to reveal herself, her galaxy home and flaming core.
As she circles round the sun, so is circled by the moon
in this constant looping stillness:  space is cold and quiet.
Look into the night - shawl of stars like lace
across black linen; on the horizon, a sash of mounting orange,

trick of light and proximity.  Thick hot orange
ascends to cold and clears to white, with a long slow
birth up the sky.  Notice these movements; they lace
together all that can be noticed around the single core
of your noticing.  Then refrain from vision and be quiet
in your desire, in your fear, as you moon

over all you feel you've lost.  Whisper to the Moon
and she will teach you.  Now peel and eat an orange,
one section at a time.  This is not a quiet
action; a scream attends each slow
tear of flesh from flesh.  You will find no core
in this, only a tough and tangled lace.

Without washing the juice from your fingers, lace
them together.  You are cupping the moon.
Resting your hands in your lap, close to your core,
simply digest.  The food becomes your blood, scent of orange
your remembrance.  Let your heartbeat slow
until it too is consumed, its work quiet.

Here is the only place there is, this quiet,
where all things emerge and interlace.
You may speak now, but let your words form slow.
They must ever recall the solid moon
and illusive sun, that dismembered orange,
the things you've never touched, galaxy to molten core.

Spent now is the slow night with its quiet
shades, and once again the moon dissolves like ancient lace
into blue sky, green earth, orange sun.  Into your fiery core.

The Color of Quiet Love

On the heels of yesterday's post, I read this Rumi poem in The Essential Rumi, which I bought recently at my favorite thrift/consignment store, Pieces.

Quietness

Inside this new love, die.
Your way begins on the other side.
Become the sky.
Take an axe to the prison wall.
Escape.
Walk out like someone suddenly born into color.
Do it now.
You're covered with thick cloud.
Slide out the side.  Die,
and be quiet.  Quietness is the surest sign
that you've died.
Your old life was a frantic running
from silence.

The speechless full moon
comes out now.

~Rumi
(translated by Coleman Barks

in The Essential Rumi)

I love the way it ties in with quiet love, the exploration of color, slowing down, and the deathlike experience of winter that so many people seem to be having right now. The line "become the sky" reminded me of one of my favorite songs, "I Am The Highway," by Audioslave.  This video oddly but beautifully combines the song with clips from the movie, Into the Wild, which happens to be one of my favorite movies:

New Year of the Trees

I have a wonderful fat little book called Earth Prayers, which contains earth-centered prayers from many different traditions. There's an index of special days throughout the year, connected with different prayers in the book.  This is how I came to learn about Tu Bishvat, the Jewish New Year of the Trees, which takes place on the 15th day of the Hebrew month of Shvat.  Which happens to have been last weekend.

I found many detailed resources for this celebration online.  I think the thing I love about Judaism the most is its emphasis on elaborate, meaningful, home-based ritual.  I also love the fact that Jews celebrate four different New Years, in different seasons.  This makes so much sense to me - the year is a circle, which begins and ends anywhere and nowhere.  It's not a line from Point A to Point B.

I printed out a rather long booklet of the haggadah for the seder meal to be performed on the eve of this holiday.  Unfortunately, I was unable to get it together in time to actually go through the seder, but I did read through it, in the manner of Lectio Divina.  The symbolic gestures (even when only performed in the imagination) and Hebrew prayers are quite beautiful and affective.

This holiday has had an interesting evolution (which you can read about extensively if you explore the link for Tu Bishvat above) but one of its primary associations is with the Kabbalah and the Tree of Life.  In Kabbalistic wisdom, there are considered to be four worlds, corresponding to different levels of reality, from the physical to the purely spiritual.  The Tu Bishvat seder symbolically takes you through those four worlds (up the Tree) with the eating of different kinds of fruit and the drinking of wine.  Reading through the haggadah, I realized one would probably end up slightly drunk by the end of the meal, with the ritualistic drinking of four glasses of wine.  But I suppose the tradition is to make the meal a long, relaxed affair that could take hours.

All of this got me thinking about trees, and I started  looking through my library for anything interesting to read about them.  I pulled out a book I bought for homeschooling purposes called Keepers of the Earth.  It's an amazing resource for anyone teaching children (Dan, Jennifer - I sincerely hope you have this book).  Using traditional stories from various Native tribes, it teaches children about ecology and other sciences, as well as Native American culture and history.

I read the story in the section on trees, called "Manabozho and the Maple Trees."  This story is from the Anishinabe, in the Great Lakes region, which is also where I grew up.  The gist of it is that maple syrup used to come straight from the trees year-round, but people got lazy and started lying under the trees all the time with their mouths open.

So our hero, Manabozho, went up to the top of the trees and poured water into them, making the syrup thin and barely sweet, and the Great Spirit made it so that the sap only comes at the end of winter and the people have to work hard to turn it into syrup.

This story made me think back to my childhood in Toronto, when we would take school field trips to the maple farm in February, and watch the sap drip ever-so-slowly into metal buckets, and then go inside to see how they filled huge vats with sap and boiled it for ever so long to turn it into syrup.

And I realized that it's just perfect to have a New Year for trees just when the sap is beginning to flow.  And I also began to think about slowness.

Dan Gurney recently posted an article he and his wife wrote for their local newspaper, a plea for the people of his town to slow down when they're driving.  This post really humbled me because I'm almost always in a rush when I'm driving, and frequently get irritated with people on the road who drive under the speed limit.

And then, Lucy posted about slowing down enough to take good care of ourselves.  One of the things I want to develop this year is the ability to truly relax, not just every now and then, but as a more constant state of being.  Dan's and Lucy's posts, combined with contemplation of the slowness of the maple syrup-making process, made me realize that if I want to be more relaxed, I've got to learn to slow down.  Be patient.  That relaxation and patience are in fact two aspects of just slowing down.  And that paradoxically, this will lead to a quickening of body and spirit, increased energy, a less rushed sense of time.

The story of Manabozho has reminded me that being relaxed and slowing down doesn't mean lazing beneath a tree with syrup dripping into my mouth, but is a manner of working and spirited living, being an active participant in turning work into a sweet gift.

And when I begin to slip into my familiar sense of rush and tension, I need to call to mind the maple with its slow gift of sap, or the luxurious live oak with its lazy swaying moss, or my favorite - the slowest and most spirited of trees, the patient redwood.  I would marry a redwood if I could.

Ah, trees.  My favorite teachers.  Thank you for reminding me. 
Happy New Year, dear trees.

How surely gravity’s law
strong as an ocean current
takes hold of even the smallest thing
and pulls it toward the heart of the world.

Each thing—
each stone, blossom, child—
is held in place
Only we, in our arrogance
push out beyond what we each belong to
for some empty freedom.

If we surrender
to earth’s intelligence
we could rise up rooted, like trees.

Instead we entangle ourselves
in knots of our own making
and struggle, lonely and confused.

So, like children, we begin again
to learn from the things
because they are in God’s heart
they have never left him.

This is what the things can teach us
to fall
patiently to trust our heaviness
Even a bird has to do that
before he can fly.

~Rilke

(Rilke’s Book of Hours: Love Poems to God,

translated by Anita Barrows and Joanna Macy)

Peeling the Orange: Top Half

It makes sense, I suppose, that in January, the deepest month of housebound winter, I would have the richest inner life.  This is the second January in a row that incredible inspiration and interlacing have sent me on a mysterious yet practical journey.

It all started the day I did my Epiphany house blessing.  Remember how I used a colored pencil because I didn't have any chalk?  Do you remember what color it was?  That's right, it was orange.  Why orange?  I didn't choose it for its significance, but mainly because it was the first light-colored pencil I came across.  Then later that day I found a poem that I wanted to print out and put on my wall for the year.  The only paper I had was bright orange, left over from a multi-colored pack I got a long time ago.  That was when I started thinking Hmmm.  Is this going to be an orange year? 

By now you know me well enough to see where this is headed.  Orange.  A color I've never thought much about, and all of a sudden, I'm surrounded by it.  I don't understand what it is about the blogosphere that seems to mystically corral themes into these little bays that I unsuspectingly swim into, but I like it.  And speaking of the blogosphere, it has not escaped my attention that Blogger's primary color is orange.  The combination of this with the orange pencil and paper immediately put it into mind that orange is my color for writing.

When I was homeschooling my oldest daughters, my very favorite thing to do was design unit studies.  There's just something about taking a theme and running with it, following where it leads, that satisfies me like nothing else.  But this is my first time with a color.  And what a journey it's been so far.  I can't even include all the places it's taken me, it's just too much.  And while it's fascinating to me, I doubt all of it would be to you.  Check out this clustering exercise I did with it though, and you'll get a sense of what I mean (you might even see your own name in this):

It's actually quite fitting that I did this, because clustering is a method of connecting and also dividing themes, and one of the main things I've realized about the meaning of the color orange is that it both divides and connects.

One of the most obvious ways that orange divides is in the lines down the middle of the road.  A more symbolic way that was brought to my attention recently was in a post at Diamonds in the Sky With Lucy, in which she described an experience of visiting with "prisoners in orange jump suits, some angry and entitled – others grateful to be alive and willing to transform one day at a time – some both. The only thing separating them and me is the color of their suit." Interestingly, this observation on Lucy's part indicates that she ultimately found a way to connect with the prisoners.

I've already mentioned writing, which is a major way of connecting for me, and also Blogger's prevalence of orange.  The Internet in general seems to favor orange, and of course, is a very popular tool for connecting with others these days. Another example of orange's connectivity would be school buses, which connect students with the school.  Orange is a major color of transportation (a form of connecting us to places) in general, is it not? 

Which brings up Eryl at The Kitchen Bitch Ponders, who posted about her recent experience of being on morphine in the hospital and finding herself in an "orange wind tunnel."  Another kind of transportation altogether.  I'll come back to this in my next post.

After reading Lucy's and Eryl's posts, the orange thing moved more to the forefront of my conscious contemplation.  And then I happened to read Life of Pi, a book which I spontaneously picked off my shelf one day, knowing nothing about it except that it was supposed to be really good, and guess what?  It's about a guy stuck with an orange tiger on a lifeboat full of orange things.  The narrator (who is Hindu, Christian, and Muslim) discusses this:

It seems orange--such a nice Hindu color--is the color of survival because the whole inside of the boat and the tarpaulin and the life jackets and the lifebuoy and the oars and most every other significant object aboard was orange.  Even the plastic, beadless whistles were orange.

Oh boy.  I could gleefully (and I think orange is the color of glee) write a whole paper about the symbolism of orange in this incredible novel.  But for our purposes, I will just point out that the presence of these orange objects on the boat (with the exception of the tiger) is for the sole aim of connecting the survivor(s) with a rescuer.  Also, and this does play into the novel quite a bit, a lifeboat can be a kind of prison, meaning that the function of the orange objects is the survivor's liberation.

One direction this novel brought me was toward tigers.  We are actually about to enter the Chinese Year of the Tiger, which gives me pause.  I thought about one of my favorite paintings of Father Bill:

Long story short, Sadhu Sundar Singh was an Indian Sikh who, at fifteen, had a profound vision of Jesus after having previously violently persecuted Christians. He immediately converted to Christianity and then spent the rest of his life talking passionately and poetically about Christ to anyone who would listen.  He also wrote, mostly parables.  His life was marked by strange and mystical occurrences, some of which are documented and some which are considered legend.  This painting depicts what Father Bill referred to as Singh's mystical meeting with the tiger.  Singh often used the tiger as a symbol of the violence and primal voraciousness in human nature.

Tigers are symbols of many things, but one of the most obvious is danger.  The association of orange with danger is also widespread.  Let's not forget about Agent Orange or the Orange Order in Northern Ireland.  Orange may be the color of survival, but it's also a color of war, violence, and even death.  It's the primary color of Halloween, after all. 

Orange is therefore also the color of fear, but this can, with a different perspective, be translated into alertness, noticing.  Which brings me back to the orange on the lifeboat.  In order to connect the survivor with a rescuer, attention must be drawn to the survivor's vehicle.  This is also the purpose of the many orange signs and symbols that exist on the road.  Pay attention, approach with caution.  (Interestingly, the orange traffic light - I'm sorry, it is NOT yellow - not only signifies caution, but it divides - connects? - the stop and the go.  It asks you to decide which you're going to do.  Will you speed up or come to a halt?) 

Another way of expressing alertness is wakefulness.  And isn't there something in us that associates orange with mornings, when the orange sun comes up and we drink our orange juice?  Then consider the color of a Buddhist monk's robe, garb which signifies a life of dedication to spiritual awakening.

So, putting aside the more personal and tangential directions I've taken this, let's review for a moment:  Orange (so far) symbolically relates to:

• connection/division
• imprisonment/freedom
• danger/safety
  
• survival/death
  
• transportation (movement/stopping)
• fear/wakefulness
  

I have no grand summary of Ultimate Meaning here, but it's been a boatload of fun playing with these ideas and images.  I'm beginning to think that orange is the color of synchronicity/serendipity/interlacing.

This journey actually has led me to some very practical applications, but I don't want to take you there just yet.  Because, let's face it:  orange, maybe more than anything else, is silly.  I mean, Tigger's orange, as my son pointed out.

And speaking of silly, here's one of my all-time favorite jokes:
Q:  What does an orange cone on the side of the road mean?
A:  "Psychedelic witch embedded in asphalt."

I'll leave you with this, which I dedicate to Dan Gurney, who reintroduced the poetic Tanka form to me recently:

Lines Written on the Hem

of a Buddhist Monk's Robe

Just because we know

that orange rhymes with nothing,

denotates two ways,
segments and defines the road;
orange is a sweet koan.

Me in my orange bandanna.
I'm counting Tanka syllables.

Found In Translation

I'm a research junkie and a total word nerd.  In the icebreaker game of a discussion group once, I had to pick an adjective to describe myself that started with the same letter as my name.  Just call me "Searching Susan."  I once took an online I.Q. test that titled me "Word Warrior" based on my score.   

When I was in graduate school, I spent an absurd amount of time researching and writing about one of the earliest Old English poems, "The Dream of the Rood."  Two semesters' worth of research and writing, actually.  I could have turned it into a thesis, as one of my professors kept suggesting.  When I first started the project, I was supposed to do a lexical analysis of the piece for my History of the English Language class.  I was trying to show that there were Celtic as well as Anglo-Saxon influences on the poem.  So I got an Old English dictionary and eventually ended up doing my own translation of the whole 256 lines.  Yes, you read that right - two HUNDRED and fifty-six.

The Ruthwell Cross,

on which part of "The Dream of the Rood" is inscribed in runes.

Dumfriesshire, Scotland. Photo by Peter Mattock

on Flickr

What I discovered was that certain words had multiple senses to them, and that none of the available translations emphasized this.  Granted, it's a difficult thing to do, but I, being the word nerd warrior that I am, took on the task.  It was immensely rewarding to find ways to unfold levels and layers of meaning.  And I was able to support my claims of Celtic influence pretty darn well this way.

More recently, I've read a couple of books by Neil Douglas-Klotz, in which he translates various words of Jesus into the Aramaic that Jesus would have been speaking in when he lived, and from there into English.  The result is quite poetic and illuminated.  For instance, here's his translation of the Lord's Prayer:

O, Birther of the Cosmos, focus your light within us -- make it useful
Create your reign of unity now
Your one desire then acts with ours,
As in all light,
So in all forms,
Grant us what we need each day in bread and insight:
Loose the cords of mistakes binding us,
As we release the strands we hold of other's guilt.
Don't let surface things delude us,
But free us from what holds us back.
From you is born all ruling will,
The power and the life to do,
The song that beautifies all,
From age to age it renews.
I affirm this with my whole being.

When I first started studying the Bible with a Strong's Concordance handy, you can probably imagine how ecstatic I was.  I would spend whole afternoons looking up every word in a single verse, and feel like I was digging up ancient treasure.  Word archaeology.

I wrote two full pages in my notebook about the name "Jesus."  I don't remember the whole rabbit trail now, but the general gist was that it means "open, wide, and free."  At least that was what I took from it.

I began to see an analogy between words and computer icons.  The way you can click on something and it opens up a whole new world that you couldn't have imagined when you were just looking at the icon.

 

Why is she going off about all this? you might well ask.  Well, the other day, I was doing my evening prayer with the book a friend gave me for Christmas, Celtic Benedictions, by J. Philip Newell.  This radiant little book of morning and evening prayer is decorated throughout with images from the 7th century Lindisfarne Gospels.  Anyway, I looked up the verse featured that evening:  "I commune with my heart in the night, I meditate and search my spirit" (Psalm 77:6). 

In my New Revised Standard Version Bible there was a note about "I commune," an alternate translation of it, which I read as "My music spirit searches." I found this odd, but poetic and inspiring.  It took me a minute to realize that because of how these notes are laid out on the page, I was actually reading it wrong.  The alternate translation for "I commune" was simply "My music," and for "search my spirit," it was "my spirit searches."  So the verse would then read, "My music is with my heart in the night; I meditate and my spirit searches."  The New International Version actually translates this verse as "I remembered my songs in the night.  My heart mused and my spirit inquired."

Maybe all of this doesn't excite you like it does me, but it's this kind of stuff that brings the Bible alive for me.  For some, it's this very thing that confirms their rejection of the Bible as scripture, but for me, it emphasizes poetic truth as what's valuable over hard fact.  There's grace and mystery in it, not fixed formulaic answers. 

Much has been made of what gets lost in translation, but I'm here to say that a lot can be found.  I research and explore this way because it's fun, and makes me feel like I'm peering into a divine kaleidoscope.  My music spirit searches, and finds communion in and with the words.        

Naming the Day

I wonder in which season

I will die.

One is as fitting as the next,

as unthinkable.

This is what I think of

in the clean cold start

of the new year, the last

of the first

decade of a new

old millennium.

The year, the earth, are always

beginning and ending, as the days

spin ever faster

and time is the umbrella

that keeps the stars

from falling willy-nilly.

 Every year goes

the way of candle flame.

Every day, every life—begging

the question,

When the flame is blown out,

where does the light go?

Still the candle of my clay heart kindles,

this clean quiet is alive,

and everything that circles

is also still.

I feast on deepest hungers,

sweet white stars, the flesh of words

in the glowing season,

now fulfilled

and purged.

Naming this day as the beginning,

I choose to say I give

this year to quiet love. I will

down more starry water,

spill less

anger.

I wake asking

Where are the gifts I gave you,

where are your gifts to me?

I cannot hold them.

I cannot hold the answers.

All I can say is one day

not far from the present

when winter begins

to dream

its death

as the carnival parade keeps dreaming

an unthinkable trip up the skull

I recognize my birth,

inherit a new age,

blow out the candles.

Between Time

You were born older than you are
and now, at twelve, you have to choose:

your first real boyfriend and his mother
want to take you

for a masque in Santa Fe, stay
the night.  But

Isis, Azellea, Ashley
and you have conspired

for weeks to be death-fairies, picking
out your matching black and glitter

to trick-or-treat together; next year
may be too late.   You reach

for me, so rare these days.
I could rise up, motherly

wrap easy words around
you like a woven shawl. 

But that's where your
wings will go.

A recent pic of me with the daughter I wrote this poem for.
She's 18 now.

Sam Hill and a Poem

First, the poem.  I wrote this a few years ago, but it's still one of my favorites.  And appropriate to the season.

Fall Into Winter

While the rain-bright moon lies
pillowed in a hematite sky, the dog
has been untangled one last time from the post-
harvest peach tree between the pines, our children, clean,
sleep upstairs and all is fresh.  I see now
why the Jews start their days in the evenings,
their years in the fall.

We have begun at last that sweet descent
through the aromatic pages of old
books and new, the sharpened pencils
of September, October's cat-black mystic glow,
through the spiking branches, the patient
kitchens of November.  This world turns
spare, closing in to the final present
of December spice and cloud,
all melting down
a vanilla taper
in the one golden room
the year has become.