Okay, day

Onward

Not every boon blooms from discovery of that magic elixir, except where coffee is concerned. Most are patched together from dryer lint and mended hems and insufficient bites of apple in the car and the dizzy-sick of last night’s back-to-school sleeplessness as the next sun sets. It was a good day, Mom, says Babygirl, well past the afternoon tears. I am a mess, she says. I hose her off laughing in the dark and leave the rest of the mess in the car, set the alarm, hoping to sleep soon. In a few hours I am up again, straight to the coffee pot, with food to the cat in the morning dark, saying Okay. Okay, day. Okay.

Solute

To dissolve some absolution

Always wants. An attempt to loosen the fibers that seemed to contain the riddle of becoming. From that bonebound island I thought I knew what I was and knowing only wants, dreamed that if I were only more, I might hold those skies, that ocean, and swell to blooming so I could let it all go into the living. I used to imagine you a landscape I might photograph in pieces to print on transparencies, hold the light of you up to your light to translate for you this wonder at your nearness. I remember where we stood above the sea holding hands up into sunset as if to catch whatever heavens might finally rain.

But what do you want, always?
What does Always want?
I am impatient to know.
Please speak slowly.

I lack fluency and miss the nuance of your most important phrases.


The phrase “bonebound island” comes from The Notebooks of Dylan Thomas.

Enter Here

With music

Strange angel, admit yourself. The upward reach is not enough where the first teachers are these cave systems writhing, diving beneath these soils, to meet the blind fish in tiny pools, in your undiscovered country still so untamed that it is unafraid to play haunted host to invisible harp. You sing the fine wind plucked from delicate fissures of split rock, and knock again. Come in.

Without a Bridge

Against reproach

How much floats unsaid between these islands. Yet there are moments when it is all there, a deafening amen, edged in icy light. An incurable fool, I keep setting out on these little rafts made of so few words so poorly bound. I am no sooner afloat when I hear the wind laugh. But the only place for hesitation was that shore.

Considering Defilement

To sanctify or desecrate.

That meeting space, love, had once been consecrated by our belief in what it was. This is what it means, to sanctify. This power is shared. To make holy. And so, as it turns out, is the reverse. To take the sacred and use it thoughtlessly, out of mind, like any old tool. A resource ready for the taking. Of course, it always is, and any fool may come. But that flame will only continue through active attention. Its desecration is so often a quiet violence. But the effect is total. There you had been, once. Then you were not.

Still Waters

With cat.

In the early morning, an hour for the dust, your altar, your black eye, long since healed, the ridge of the once-purpled nose still visible in certain lights. That weather is over now, moved elsewhere, but still you come to sit with it.

This morning’s sounds are birds and the laundry room just outside the door, and dogs after a passing truck. The phone rings at an odd hour and familiar panic crashes like a wave. But it is nothing, a pocket dial.

And yet, it means something to gather these nothings to the chest and hold. Either because unless I still do this, I am nothing––or because I am essentially nothing, and it is good to be among my kind. Probably both are true, but I don’t get to know.

So, I sit here with these nothings and now here the solid weight of this cat pouring herself into my lap, to hold and be held. She is someone, this cat. She won’t do this with anyone else. I think she likes that I am good at disappearing, too––into the bed, the chair, the book, the music, birdsong.  And, when interrupted––gone.

She is a great teacher the art of emptying the form, so that the liquid of something else may come in. I have spent enough time with the form itself, testing its limits to see what it will take. A lot, it turns out, but for what? When those limits finally cracked, I felt something else move in. It will not be named so it is nothing, and here we are now, these insubstantial breaths our sum, and the sum of us nothing, too.

Craft Talk

With Andrew Wyeth.

The less there is in a subject, the more I can pour into it. And I have a strong feeling that the more objects you use, the less there is in a picture. It’s not that I doubt the object. I doubt the way I paint it. If it becomes about the object, forget it. What matters is what seeps unconsciously from the object. The fleeting character of shadow, the sadness of fall. It is important to forget about what you are doing, then art may happen. Sometimes.

***

Adapted from interviews with the artist, whose “Wind from the Sea” moved me this morning.