Considering emergent occasions.
Common practice refers to any “I” with consistency, but there is no monument here, only these constant aberrations. A body may be well one moment, wounded the next, then ill. Same for soul, spirit, mind, and whatever else we try attaching to this ongoing flux.
Also common, at least after a certain point, to wonder each morning, how now? Check pulse, blood pressure, eyes. Are the dark circles back? I remember the years I could not look because I knew. How cold, this seeming indifference. I was angry at her, for being so much less than solid. And possibly more, too; more than I wanted to imagine. I wasn’t myself, we commonly say, looking back on moments like this. And yet, I never asked, who are you? I never asked, how is your name? or what form shall we take, next?
We move more gently now. I check the pressure, coaxing encouragement. C’mon, I whisper, while I wait. Don’t let up. The translation might be a little prayer, some invocation to this small, quaking of tentative flesh and fluctuating fluids, to hold. We are still emerging.
Inspired while reading John Donne’s opening meditation in Devotions Upon Emergent Occasions (1624).
With the angels still untrained in walking.
The artist used the scraps of the day to dance angels on his fingers. He wanted his son to have playmates free of history, open to unknowns, without the knowledge that cultivates fear. Here is the glost of a scarecrow, here the electrical spook. Once upon a time this was a napkin, but now it’s Mr. Death, live on a shoebox stage, fielding questions from all sides. The wine cork becomes the old man, the devil is a ringed glove, and the monk wears a luchador’s mask.
Let’s play, he told the child––animals playing comedy; tragic heroes dressed as children playing proud birds. Make the cat a bull for the land where the only constant is that everything is constantly morphing into something else.
Watch the big eared clown, ecstatic with the solemn poet and the absolute fool. Only the fragile are powerful here, arms up to highlight where their hands might be, in display of delight: Look, no hands and nothing to hold! They will dance as soon as they wrestle, these angels, and every blessing is also a wound.
Inspired by this article about the hand puppets that Paul Klee (among my favorite artists ever) created for his son.
Here’s to you, intrepid seafarers.
To those ostracods playing in the moonlight, I had no idea you were so risqué in your movements, throwing off your cloaks of protective depths after sundown, dancing up to taste blooming krill, or that from your bean shaped carapaces you were extending sensate tendrils of yourselves like cat whiskers through gauzy shields, reading the waters as you undulated through and in and over, all traces of your nightly ecstasies vanishing by sunrise.
And you, copepods, have you been in these waters the whole time and I didn’t even see you? –––here or anywhere else, and you have been almost everywhere remotely wet, from underground caves to ground leaves, braving arctic interfaces and hydrothermal vents, you intrepid seafarers, propelling bravely by the whirls of your little oar feet where others fear to tread.
I hear that you are disappearing and reappearing nightly, deep scattering layers of you like a phantom seabed, and here I am, clothed and blanketed against the chill and still sighing with the quaking shift of the space that is no different from the space I was in yesterday, except that I am learning, thank you, about the futility of my constant attempts at holding it still.
This post is inspired by Hannah Seo’s recent Atlantic article about the diel vertical migration of creatures throughout the world’s seas.