Cloud I

Letter to My Imagined Daughter                   Kyle Vaughn

If I could fold this lonely year in half and then in half again, until finally it became next year, I would keep folding until I came to where you are. I would keep folding until this year made a little paper car. This white care would be soft, like a cloud in the air. And even more than a soft cloud, this would be a bright car, more like the sun in the middle of the day. And as it does through certain glass, its light would keep folding , folding in—making the world spin like a red barber’s chair, once around for every fast ray.

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You Begin                                                                              Margaret Atwood 1978

You begin this way:
this is your hand,
this is your eye,
this is a fish, blue and flat
on the paper, almost
the shape of an eye
This is your mouth, this is an O
or a moon, whichever
you like. This is yellow.

Outside the window
is the rain, green
because it is summer, and beyond that
the trees and then the world,
which is round and has only
the colors of these nine crayons.

This is the world, which is fuller
and more difficult to learn than I have said.
You are right to smudge it that way
with the red and then
the orange: the world burns.

Once you have learned these words
you will learn that there are more
words than you can ever learn.
The word hand floats above your hand
like a small cloud over a lake.
The word hand anchors
your hand to this table
your hand is a warm stone
I hold between two words.

This is your hand, these are my hands, this is the world,
which is round but not flat and has more colors
than we can see.

It begins, it has an end,
this is what you will
come back to, this is your hand.
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Inspiration is there all the time. For everyone whose mind is not clouded over with thoughts whether they realize it or not. ~Agnes Martin

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Ring               by Melissa Stein

Control was all
I wanted: a handle
on the day, the night
when it curved,
when it swayed,
when I could sense
the teeming stars
in light, in dark
the sun's bare wire.
Some switch
to turn it off:
each shadow
pinned to each tree
like a radius
of some infant's
milk it spilled.
And the leaves,
their gossip
of claw and beak
and wind and heat
and wing. Tether
lake to bank and
cloud to peak.
And weather it.
Weather it. All this
to say I've
taken off my ring. 

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Something goes through the world

Without speaking to anyone.

When it falls in water

It doesn't splash, when it enters a tree

It doesn't rustle.

The less you hear it the fiercer its presence is.

Time stops.  There's a mist in the north

And a branch, only one branch pointing to it.

No creature may now share its stillness.

Cloud, drifting in the direction of my birth,

If there's a Hell,

It must have only one inhabitant.

  

~Charles Simic

Certainty is Overrated

In the end it all comes down to this you have a choice (or more accurately a rolling tangle of choices) between giving your work your best shot and risking that it will not make you happy, or not giving it your best shot -- thereby guaranteeing that it will not make you happy. It becomes a choice between certainty and uncertainty. And curiously, uncertainty is the comforting choice.  ~David Bayles & Ted Orland in Art & Fear: Observations on the Perils (and Rewards) of Artmaking

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Moral certainty is always a sign of cultural inferiority. . . .All human progress, even in morals, has been the work of men who have doubted the current moral values, not of men who have whooped them up and tried to enforce them. ~H. L. Mencken

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Despair is a kind of of certainty that the future will be like the present.  ~Rebecca Solnit

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Uncertainty is an uncomfortable position. But certainty is an absurd one. ~Voltaire

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Heisenberg’s “uncertainty principle” has comic potential, besides being the best formulation of the comic spirit.  ~Charles Simic, The Monster Loves His Labyrinth

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Uncertainty is where things happen. It is where the opportunities — for success, for happiness, for really living — are waiting.  Martha Nussbaum

Single

Beautiful, mysterious images are static. Too many such images clog a poem. A mysterious image is a holy, wonder-working icon. How many of those can you have in a single poem?

Charles Simic, The Monster Loves His Labyrinth, p. 48

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...now I understand about the comfort to be found in fear; also the power. Sometimes now I think it is the fear that keeps me safe; sometimes now I think the fear is all that keeps me safe. When I am scared of everything, the fear becomes a gauze bandage around me and I am convinced that if I stop being afraid, if I let my guard down for just one minute, all hell will break loose and fly apart in my face like a shattered windshield. On airplanes, I am so scared that I think If I relax and let myself enjoy the flight, the movie, the drinks, the conversation of the interesting woman beside me, we will crash for sure. It is my fear alone that keeps us airborne. All the other passengers can do whatever they damn well please: they have no responsibility and so no power. I realize there is a pumped-up vanity in this, a perverse delusion of grandeur in the belief that I could single-handedly avert disaster and save these smug, stupid strangers, not to mention myself.

 The power of fear lies in its conceit or the conceit of fear lies in its presumption of power.

 Diane Shoemperlen, from the short story "The Look of Lightning, The Sound of Birds" from the collection Red Plaid Shirt

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Vocabulary of Dearness                           Naomi Shihab Nye

How a single word

may shimmer and rise

off the page, a wafer of

syllabic light, a bulb

of glowing meaning,

whatever the word,

try “tempestuous” or “suffer,”

any word you have held

or traded so it lives a new life

the size of two worlds.

Say you carried it

up a hill and it helped you

move. Without this

the days would be thing sticks

thrown down in a clutter of leaves,

and where is the rake?

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Anyone involved with the institutions of poetry would do well to remember this. With all the clamor in this country about the audience for poetry, a veritable barnyard of noise into which I myself have been known to bray, we shouldn't lose sight of one of poetry's chief strengths: how little of it there is. I don't mean how little there is in the culture, but how little there is at any one time that is truly excellent. Poetry's invisibility is deplorable and worth fighting. Its rareness is admirable and the chief source of its strength. Indeed, I sometimes think that if we honored its rarity more, poetry's invisibility would be less of a problem, or at least we might define the notion of visibility differently. Seamus Heaney has noted that if a person has a single poem in his head, one that he returns to and through which, even in small ways, he understands his life better, this constitutes a devotion to the art. It is enough. And in fact I find that this is almost always how non-specialists read poetry – rarely, sparingly, but intensely, with a handful of high moments that they cling to. The emphasis is on the memorable individual poem, and poetry in bulk is rarely memorable.

Christian Wiman, Poetry, Dec. 2006

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Tread-softly (Cnidoscolus stimulosus)             Sarah Hannah

Hell, this is a field without end,
Wider than a gate, athrum with
Insect wing and Squawk. I might as well

Go swim in flame, but I can't swim,
So I'll just walk: bramble, spike,
And blame, without a single quenching

Drop of dew. Not a field—a ravine—
I mean a raving: You. And I'm
On double shift: daughter, nurse,

In double oxymoron: home hospice.
Some have said it's not worth saving,
This tiny family of Spurge: we two.

The hooks go in, the rash is swift, and
There's no poultice, only spur and spurned.
Even the milk sap burns. I've the urge to turn

And quit, but there's simply no one else to do it;
No one could or would—tread softly, that is—
Open the hand, toss the shoes and step back in,
Knowing what I know.

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She Considers the Dimensions of Her Soul            Young Smith

(Mrs. Morninghouse, after a Sermon Entitled,
"What the Spirit Teaches Us through Grief")

The shape of her soul is a square.
She knows this to be the case
because she sometimes feels its corners
pressing sharp against the bone
just under her shoulder blades
and across the wings of her hips.
At one time, when she was younger,
she had hoped that it might be a cube,
but the years have worked to dispel
this illusion of space. So that now
she understands: it is a simple plane:
a shape with surface, but no volume—
a window without a building, an eye
without a mind.
                         Of course, this square
does not appear on x-rays, and often,
weeks may pass when she forgets
that it exists. When she does think
to consider its purpose in her life,
she can say only that it aches with
a single mystery for whose answer
she has long ago given up the search—
since that question is a name which can
never quite be asked. This yearning,
she has concluded, is the only function
of the square, repeated again and again
in each of its four matching angles,
until, with time, she is persuaded anew
to accept that what it frames has no
interest in ever making her happy.

The Comfort of Cannot

The other day blogger John Biesnecker posted about "The Joys of Having a Forever Project," a project that he describes as one that "despite its audacity and seeming impossibility, simply will not put itself to bed. . . . that is hard to imagine actually embarking on, but whose mental cost of abandonment is far too high to even consider."

The next day he wrote another blog post about "Why the Forever Project Hit a Nerve," as it had--getting over 45,000 hits in 18 hours and becoming a focus on Hacker News and Reddit.

When I (finally) found out about Biesnecker's forever project, I was immediately reminded of the quote by Henry Moore: "The secret of life is to have a task, something you devote your entire life to, something you bring everything to, every minute of the day for the rest of your life. And the most important thing is, it must be something you cannot possibly do.”

I have loved this Henry Moore quote for years, have turned to it when I have wondered why I spend so much of my life writing poems, never getting written what I really want to write. And I turn to this quote when I wonder if I have wasted my life, which I wonder quite a bit...

There is something that cheers me to work on what I know is impossible but what I know I will never stop trying to do.

And then I started thinking about the beauty in all the things that cannot be:
 
"I cannot seem to feel alive unless I am alert," Charles Bowden writes in his recent book, Some of the Dead Are Still Breathing (Houghton Mifflin Harcourt), "and I cannot feel alert unless I push past the point where I have control."

". . . The aim is to become / something broken / that cannot be broken further . . "
from Jorie Graham’s Overlord

"Science cannot solve the ultimate mystery of nature because we ourselves are part of nature and therefore part of the mystery we are trying to solve. " Max Planck

The Pieces That Fall To Earth                           Kay Ryan

 

One could

almost wish

they wouldn't;

they are so

far apart,

so random.

One cannot

wait, cannot
abandon waiting.
The three or
four occasions
of their landing
never fade.
Should there
be more, there
will never be
enough to make
a pattern
that can equal
the commanding way they matter.

Your eyes are on your side, for you cannot see your eyes, and your eyes cannot see themselves. Eyes only see things outside, objective things. If you reflect on yourself, that self is not your true self any more. You cannot project yourself as some objective thing to think about. The mind which is always on your side is not just your mind, it is the universal mind, always the same, not different from another’s mind. It is Zen mind. It is big, big mind. The mind is whatever you see. Your true mind is always with whatever you see. Although you do not know your own mind, it is there—at the very moment you see something, it is there. This is very interesting. You mind is always with the things you observe. So you see, this mind is at the same time everything. Shunryu Suzuki, Zen’s Mind, Beginner’s Mind

Iris Murdoch once wrote, “The bereaved cannot communicate with the unbereaved.”

 

…you cannot always be happy, but you can almost always be focused, which is the next best thing.  Winifred Gallagher, Rapt

40. Wind cannot blow the wind away, nor water wash away the water. From James Richardson's Vectors: Aphorisms & Ten-Second Essays

 

207. Sometimes I hate beauty because I don’t have a choice about loving it. I must be wrong in this, but whether because I take freedom too seriously, or love, I cannot tell. From James Richardson's Vectors: Aphorisms & Ten-Second Essays

 

 

The prose poem is the result of two contradictory impulses, prose and poetry, and therefore cannot exist, but it does. This is the sole instance we have of squaring the circle. Charles Simic, The Monster Loves His Labyrinth

Contemporary poets have for the most part forgotten about symbolism, especially its one great insight that Being cannot be stated but only hinted at.  Charles Simic, The Monster Loves His Labyrinth

Girder                                                 Nan Cohen

The simplest of bridges, a promise
that you will go forward,

that you can come back.
So you cross over.

It says you can come back.
So you go forward,

But even if you come back
then you must go forward.

I am always either going back
or coming forward. There is always

something I have to carry,
something I leave behind.

I am a figure in a logic problem,
standing on one shore

with the things I cannot leave,
looking across at what I cannot have.

 

Simic: Poets & Money

Charles Simic on "Poets & Money" for the New York Review of Books Blog.

More Notebook Notes

You may recall a month ago or so  I mentioned that Kay Ryan doesn't carry a notebook around, while other writers (I cited Will Self) find  constant access to a notebook to be a necessary part of their writing process.

Now Charles Simic has weighed in on the notebook issue at the New York Times Review of Books blog. However, Simic is more interested in the place of actual paper pads in this age of digital notebooks and phones that record any information we want to keep.

Simic writes: "...on a cold January morning, I once asked a fashionably dressed middle-aged woman, standing outside a building on Madison Avenue smoking a cigarette and shivering, whether she had a pen I could use. She didn’t think this was an odd request and was happy to oblige me. After she extracted a pencil not much bigger than a matchstick from her purse, I took out a little notebook I carried in my pocket, and not trusting the reliability of my memory, wrote down some lines of poetry I had been mulling over for the previous hour, roaming the streets. Today, she’d probably be staring at an iPhone or a blackberry while puffing away on her cigarette and it would not cross my mind to bother her by asking for a pencil."

Like Simic, I am a big fan of notebooks. I always have one in my bag, and  I shop for those based on durability, since they get banged up quite a bit on my travels and outings. Then I have a notebook at home for my poems, and another notebook for any commercial writing ideas that I have, and a notebook for notes on novels I have partially written. And I have all my notebooks going back to college, one a year or so. I have lugged these overseas a number of times, stored them at actual expense, and now have them under my bed. Why? I don't know. Every once in a while I think about tossing them out; I hardly refer to them ever. I fully intend to have them all destroyed before I die, so why do I hang onto them now? I couldn't say, but I suspect Charles Simic would understand my inclination.

How about you? Do you use notebooks, or have you gone completely digital? Do you store old notebooks or do you jettison them eventually? Thoughts on notebooks welcome.