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Entries in nature (129)

Friday
Nov082013

undercut banks

“Beside the rivering waters of, hither and thithering waters of, night.” 
James Joyce, Finnegans Wake

Through the rain drunk meadow
Fat on mountain showers and drowsy
I stitch, in my scissor step, through the long grass
A furrow like a tipsy ploughman
And harvest before my boots
A skittering wake of hoppers blustery
Down to the rocky banks
Under cottonwood shade.

Trout wand in my hand,
A silly baton, slicing the air.
And like a conductor browbeating the woodwinds
I conjure the slipstream.

I come to track this raveling course
And to track the course in me;
To watch the stalking sun crest the canyon wall
And paint the water pewter shimmery.

To wonder too
At the dizzy stones
And mayflies
Clouding the wild roses.

To feel my boy’s old heart thump, still,
When the water piles up
On the sudden shoulders
Of the heavy trout.

To smell the consequence
Of my slippery steps
On the wet and awkward rocks
That bruise the mint and mugwort.

To see silver dimes clinging
To the water-jostled cress -
Glinting coins in the watery sun
That spend well still indeed.

And too there, once,
Gold-spurred columbines
Elegant as shooting stars
On stems impossibly delicate.

To listen to the fluent
Gravel-throated chortling
Of water on rocks
And the dark sluicing soughing
Of wind in the sedge -
Old languages I remember well
Wandering wild within willow banks.

To feel the cold on my wet pilgrim feet,
The chill on my late autumn cheeks
In the weird arctic half-light
As dusk draws down the glen on me
And the stars a sudden swath of sublime.

And to again remember, surely,
That never will I know
The deep watery secrets
In the currents of time
Unplumbed in dark undercut banks.

From Mountain Wizard, by Thomas J. Phalen. 

Tuesday
Nov052013

Harbingers

“And put out the servant who is of no profit into the outer dark: there will be weeping and cries of sorrow.”Gospel of St. Matthew

Two ravens traced the pewter sky
Like etchings scratched above the trees.
Peremptory, unhurried, removed,
Wheeling like so much give a damn against the setting sun.
Big as black of night,
Smug as crabbed unsmiling butlers
Or sour priests, contemptuous of some apostasy,
All black hat and cassock.

Three bats circled the house at dusk,
Crazy erratic and day-blind
Darting and tumbling in the outer dark
Predictably at close of day.
Sprung from somnolent secret dayshade
Silhouettes against the nickel sky
Carving the wind with cutlass wings
Their peeps mere hints in the gloom.

It’s all about death, the macabre, and madness
On their wings here in the woods.
They’re freighted heavily for all that
With storied loathing and dread,
Lurching through the darkling, evermore,
Unshriven, feared, and despised.
Just like those pretty girls in Salem
Whose fatal youth the pinched old ladies envied so.

From Mountain Wizard, by Thomas J. Phalen.

 

Monday
Oct282013

drawing up

It is not our job to remain whole.
We came to lose our leaves
Like the trees, and be born again,
Drawing up from the great roots.
 - Robert Bly  

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Saturday
Oct192013

elevation

Cool temps in wild west town.
Footprints in dust.
The sky is crying.
Goggle motorcycle man comes into town with a load of fresh greens.
Hmong girls sell on sidewalk.
We have everything we need.
We grow rice, ginger, beans, peanuts, peppers, bananas,
Squash, sugar cane, corn, papaya, cucumber and sweet potato.
Life is sweet.
We carry our abundant world in a wicker basket.

Sunday
Sep082013

Duende

She had duende, a fundamentally untranslatable Spanish word, literally meaning possessing spirit.

It signified a charisma manifested by certain performers - flamenco dancers, bullfighters, shamans and weavers overwhelming their audience with the feeling they were in the presence of a mystical power.

The Spanish poet Garcia Lorca produced the best description of duende: “Years ago, during a flamenco dance contest in Jerez, an old woman of eighty, competing against beautiful women and young girls with waists as supple as water, carried off the prize by simply raising her arms, throwing back her head, and stamping the platform with a single blow of her heel; but in that gathering of muses and angels, of beautiful forms and lovely smiles, the dying duende triumphed as it had to, dragging the rusted blades of its wings along the ground.”

She’d followed a tribal trail to Lacilbula where, after weaving morning pages, she returned to the Rio Guadalete below Grazalema flowing from the Sierras to Cadiz.

The battle of Guadalete was fought on July 19, 711 when 7,000 Yemenis and Berbers led by Tariq ibn Ziyad defeated the Visigoth King Roderick.

Rio needed cleaning. Thick autumn yellow, green and brown leaves trapped between rocks clogged river sections. Liquid backed up to mountains beneath fast gray storm clouds. Using her walking stick, she clamored down a slippery slope and worked her way up the Rio clearing sticks, leaves and stones blocking the flow.

One leaf could do a lot of damage.

There were green maple, silver aspen, brown oak leaves. Old black water logged decayed colors danced with fresh green and orange pigments.

She was the unimpeded flow. A child playing near water in her dream world. Serenity and sweet water music with rock stepping-stones, small pools and meditation zones where she felt peaceful. Bird music darted up the canyon.

She cleared leaves long past twilight, staggered up the muddy incline facing the Rio in silent gratitude and performed healing chants next to a bare Aspen tree. She passed a ceramic Virgin Mary statue behind a locked gate illuminated by melting red candles in a rocky crevice.

Mary’s blood flowed over jagged dolomite gray stones flecked with green moss. She collected a hemoglobin sample for weaving, crossed a stone bridge and returned home. She lit candles, started a fire, enjoying a deep breath before bleeding river words dyeing loom fabric.

The loom was her instrument of transformation and wool the hair of the sacrificial beast which women, by a long and cultured tribal process, transformed into clothing. Weaving skirts the sacred and the violent. 

Her power at the loom was both derided and celebrated, transforming like birth into a language and symbol, a metaphor with new, positive ends and duende.

A Century is Nothing

Subject to Change