Wonder Archives

The Use of Form

Bodies of work.

One advantage to poetry is that requires no heavy apparatus to carry around. Only this body, heavy enough when conscious. Unconscious, the form is dead weight, nearly impossible to move. And yet, when awakened to its fullest extent, nearly weightless. Here again is another advantage to the form. Of poetry, of the body.

Both remind. This is how it is possible to float, vertically tethered and horizontally webbed. In this poem, our feet in the earth may stir the unborn forest. In this poem, someone calls across the sea, Friend. Across and between each continent and each impossible divide.

Friend, this speaker calls. Don’t dismiss me to the murmuring masses you mean to float above. Friend, comes this voice, hold fast to me. These bodies, in the end, are all we may carry, and nothing but their given songs. Put up your sword, friend. Each must be held, or nothing holds. We are going to need both hands.

***

Inspired by the work of Tomas Tranströmer.

For the Time Being

The volume of shadows.

Two trees, one real enough to be seen, another seen well enough to last the length of a dream. But neither can ever become real. This from Hannah Arendt, and now the alarm can’t wake me.

The sun is visible one moment and then less so in another but indicates nothing of sorrow or regret. It offers shadow. We see by the shadows. We measure them. Once, someone considered their lengths, prone to stretch and collapse, and asked, what do they mean? A decision was made. These mean Time.

Numbers were assigned to the lengths, etcetera, etcetera–– but some of us here, so often delayed as measured against a standard pace, retain some skepticism about these systems. Of their presumed inviolability, a separate matter from their usefulness.

Trees cast long shadows and are associated with knowledge and wisdom, and yet standard practice rejects the idea of arboreal sentience. In a world bent on speed, stillness so often gets mistaken for stupidity.

But only in stillness do certain questions show up. What is the length of the water on a face, bearing witness to the beginning or the end of a life? And the volume of this shadow of the solitary pilgrim on the long road in late afternoon?

I still don’t know. But speech is an act of making concessions. Consider the first lessons of any language not inherited. Standard practice begins with the basics for moving through a landscape: Hello. My name is. What time is it? It is an o’clock. How are you?

The last of these is the least amenable to explanatory language, wanting only touch and smell and song.

***

I came across Arendt’s words in an epigraph to Ann Lauterbach’s Spell. My italicized presentation in the opening lines is a paraphrase.

A video reading of this post appears here.

Aquarian Drip

These dazzling portraits.

When the artist came to visit, we were moved by the shining colors in attendance.

We had questions. One was, how would you describe the world you are building?

There are all these characters, see? Part divine and part human, all in a state of transformation. During each metamorphosis, a being glows these wild colors. It’s magical.

Are these self-portraits?

A lot of them are, partly. Also, part fiction, part archetype.

Can you talk about your materials?

They are loaded. They appear to be surface-level decorations. And yet, the objects themselves emerge from grief. So many people were dying. I was thinking of memorials, how decorative they are. And then I had all these sequins, and was like, I know what to do with those!

Because people are so much, you know? All these glittering layers, and then when they are gone, you have all this extra sometimes, this overflowing sense of all you see, all you wanted to say, all that they were beyond the simple obit.

It wasn’t long after I started down this path that I was like, I am going to need a lot more sequins.

***

Inspired by the work of Devan Shimoyama. The title of this post comes from one of Shimoyama’s paintings.

Swimming Lessons

And other notes.

Let’s rehearse, she told us. Lick this joy first, wherever you can find it. Even there, she said, at the bitter root. Especially there. Because this part will kill you, but this part will restore the dead. These are the same plant, child, do you hear me?

Survival demands distance from what kills you, and yet here is your life. To remind you how you will never get close enough. Only keep returning, back and back to that which makes you want to run.

Here is the cave of the dragon. Here is the belly of the whale. Here are the bowels of the ship, the depths of the sea, the strangest creatures you have known. You recognize them, don’t you?

Here is flight: suspended, perfect peace. Now the absence of the air you need. Now the desperate kick, up and out of its saving embrace.

Up to the surface. You can still see. Linger. Notice what shines as its holds you. Now back again, down. Down.

A reading of “Swimming Lessons”

Signs of Life

What trembles.

Consider all this a precursor, the artist was saying, to work in another medium. I wanted to begin with some questions, she told us. I was talking to a friend, she said, as I am now––and the friend, these friends, had certain questions. These questions encouraged me, she told us. To keep looking, you know. With these hands.

I was trying to make something, to see it. There is a way to thread a map of layered memories so that knots are formed at the points of collision. There is a way to see the knots as what hold the web together.

Of course, they won’t hold still, so it is not clear yet, but I can see how the tendrils of these maps might thread together, suspended in ropy intricacy as though in branches above us. How we might assemble beneath the canopy, looking up.

It would be so much that we would have no choice but to return to a preverbal state with sounds and textures and smells and a sense of being in one place expanding out and then back between carryings, and no one can ever describe what happens in this state, when the tremble of memory is soul.

Nightswimmers

Liminal play.

When we were children of the sun and our play was a running banter with shadow and shine, I remember how you laughed to catch his spray in your teeth and our skins would carry it back inside when we were called in twilight hours.

Our shapeshifting forms morphed and when we were children of the moon, we knew our skins to slip like the bellies of jumping fish, winking light just to feel it swallowed by an original sea with night waves lapping whispers to return.

Nobody’s Defense

Testimony at sea.

When the officials came to demand my history, I pointed to the sea. She had the only enduring record, I told them, of our bodies, our wrecks, the wreckage we endured, our ancestors.

Did we call it known, once? Ask her. Did we know our first breaths through gills, and before this, much thinner membranes? When each of us was a single cell, did we imagine that this would make us invisible one day to our later selves–– or were such concerns trivial beside some vastness of knowing–– or was nothing too small to be named?

When the officials came to demand my measurements, I said, keep your instruments and I will keep swimming in this saving ignorance, in the margins of your marked territories.

When the officials moved toward me, I said, friends, you are welcome, too. Anyone can be taught by the twilight and by the other transparent creatures known to glow.

What Counts

On seasonal records.

I’d love to tell you, but the words become ghosts, choking intention.

Once, they showed their insides, breaking open.

Meaning tends to expand at the site of the cut.

The next attempt reminds: what is necessary is also impossible.

The space after time’s vanishing has a way of losing its contours.

To compensate, you can try cross-mapping histories to create an architecture of memory.

Now we are inside the stones, now we are their erosion.

By exposing matter, you can revisit its secretive nature. Some colors don’t happen in paint.

The synapses around a single sentence can curl a face into the face of another time.

10.

We pierced the soft flesh of old monuments.

11.

A child makes bricks of debris, each block a memory.

12.

If each of these haystacks is another time of day, seeing is what happens between them.

***

Inspired by Monet’s Haystacks.

Feats of Becoming

In mythic memory.

In the days when we knew forms were only provisional, you called Leap! at the sight of the next star. Our metamorphic world buzzed with a panorama of possible and the hours were a cyclic series of somersaults.

We read by the myth from inside its closed shell, unlike the heavy-headed beachcombers trying to recover something lost. From inside, we dissolved selves well enough to forget our tired, temporary names and donned instead originals of dark dimension. In these we splashed back to the undergrounds where the Mothers knew us, to restore the old tales to their first beginnings. We chased the slivering prints of angels’ bare feet to catch them only long enough that they would whisper again the small verse assigned to each of us. This one is yours to bring forth, they told us, one at a time.

In dawn’s purple flame, the branching capillaries of eons swelled our skins, and Time’s wild clowning made us know ourselves at once alive and dead, ending and beginning, never and again. By this light, the world’s creatures seemed to know us, looking back as though waiting to be named.

The Edge of Water

Pulled from the stream.

When the veil slips against this grip against the fire of high noon, and there’s no recourse but to take in the full face of a day’s madness, no words can help me bear it, each too round unto itself, biting its tail.

I slipped into the stream again, dead weight at your shoulder, the nebulae of closed eyes until the saving tongue of salt lime chased my veins back into themselves and you shone me a remedy.

The words go on biting their tails. None can help me bear this love, when only the living will do.