Tuesday, March 30, 2010
You do not have to be good.
You do not have to walk on your knees
for a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting--
over and over announcing your place
in the family of things.
Experiencing this poem for me is like experiencing nature itself, experiencing the essence of being human too perhaps. The contrasts jump out.. The contrast of the notion of repentance and punishment---for what? For being 'bad' in some way. For sin? It contrasts hardness and suffering, --the bony knees shuffling on the hard ground, the pain of despair, the emptiness of a desert of loneliness, --with the softness and beauty and fullness that nature offers to us if we know how to open ourselves to it.
The repetition of the word "meanwhile" is soothing. It suggests the constancy of nature, the neverending cycles, the rhythms that ebb and flow and never cease. Meanwhile, meanwhile, meanwhile, the sun and the rain, life givers, provide their blessings indiscriminately and continuously.
She uses simple words, and simple images, simple figurative language: clear pebbles of rain, deep trees. One doesn't have to work to get the meaning of the poem, but just let the words move through you and the images and feelings arise.
Like the wild geese, Oliver repeats her message "over and over" in this poem and others. Her poetry is smooth and shiny like clear pebbles of rain, but also sometimes harsh, and strangely exciting.
What meaning is the phrase "the world" for Oliver? This reference is made frequently in her work. In her essay Owls she says "There is only one world." In The Dipper"Oliver writes: "The world is full of leaves and feathers and comfort and instruction. "
"Whoever you are, no matter how lonely." Salvation is universal for Oliver, we "do not have to be good." We do not have to suffer to earn it. A universalist is one who believes salvation is extended to all human kind, a universal rain.
Beginning with images of sin, suffering and aloneness, she leads us to " over and over announcing your place in the family of things." That word "things" struck me as harsh for someone so attuned to nature's beauty and spirit. But I think she purposely chose to juxtapose the words "family" and "things." If we humble ourselves and include ourselves as no better than all the other creatures (which we often treat as no more than "things'), and 'things' like rain and trees, we then honor our vulnerable animal nature, return to our roots, find our place in the family and, like the wild geese, head for home. Yes, it might seem harsh, but also exciting, and comforting, like rain in a desert.
And perhaps that is the sin suggested here, setting ourselves up as superior to and separate from to the rest of 'the world,' the rest of nature. When we let go of our exalted human status we can access the freely offered salvation, an antidote for our despair and loneliness, our human angst. It is a letting go, not an effort, not an endurance, not a sacrifice, but a receptive act. Oliver counsels: Live simply. Live in the joy of the body. In "Such Singing in the Wild Branches" she says: "First, I stood still, and thought of nothing. Then I began to listen, Then I was filled with gladness. I seemed to float, to be a wing or a tree, and I began to understand what the bird was saying, and time stopped." And in "Yes! No," we read "To pay attention, this is our endless and proper work." And in The Swan: The path to heaven--its in the imagination with which you perceive the world, and the gestures with which you honor it. In Long Afternoon, she tells us "Everyday I walk out into the world, to be dazzled, then to be reflective. It suffices, it is all comfort, along with human love."
Tuesday, March 16, 2010
It has been many years since I studied poetry as an English major. So I thought I would read a little about poetry itself since our PVNWG author this month is Mary Oliver. Here are the things I thought most powerful (and helpful) from my reading:
From Molly Peacock, How to Read a Poem...and start a Poetry Circle
Poets and readers of poetry are those who have felt intensely and thought deeply.
Poetry is always tuned to paradoxes.
The apprehension of a poem is a sensuous mental activity. And understanding is gained just the way a love relationship is deepened--through the blind delight of examining it with the senses and the intellect all at once.
It can be a great comfort to hear our own voices emanating through the letters of words that come from someone else.
Poems considered as "talismans." Talisman--an object that gives its bearer a special hold on life.
...that inverted sense of being listened to by a poem, although you are listening to it.
Duende--a word Frederico Garcia Lorca uses for the great devilish spirit in poems.
What we hold sacred is often related to our bodies.
Poetry--a respect for the conscious act of living.
Poetry is the art that offers depth in a moment, using the depth OF a moment.
You can FEEL a poem without really understanding it.
A poem is made with words, but is only 1/3 a verbal act. It is equally an auditory and a visual art, which we take into our bodies as well as our minds.
Reading poetry gives you an internal massage.
As you meet your own experience through someone else's articulation of it, you are refreshed by having a companion in your solitude.
Lyric poems seem to stop time. (Lyric poetry is uttered in the first person.)
Three parts of a poem
The Line: the music, intuitive, a skeleton, holds the poem up. Sounds like emotions. Line means rhythm, sometimes rhyme, appeals to one's instinctive understanding
The Sentence: thoughts of the poem, appeals to our intellectual pleasure
The Image: the visual art of the poem, its central nervous system, the poet's vision, word pictures, both instinctive and constructed, a "two way mirro" between the other two ways of seeing
Each poem has two musics, the line and the sentence
Imagery flares across the sky of the poem as the two musics play.
How the poem feels to your tongue is the embodiment of the feelings that the sounds evoke.
The rhythms of lines can walk the sharpest yet un-nameable feelings through the poem.
There are really only two subjects of lyric poetry, love and death.
Poet or "scop" in Old English (pronounced shope) means "maker."
Poetry has been called the "art of naming."
From Edward Hirsch, How to Read a Poem (and Fall in Love with Poetry)
Emily Dickinson's compelling test of poetry:
"If I read a book [and] it makes my whole body so cold no fire could ever warm me I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only way that I know. Is there any other way."
Reading poetry is a way of connecting--through the medium of language--more deeply with yourself even as you connect more deeply with another.
The reader completes the poem, bringing to it his or her own past experiences.
You are "really" reading poetry when you feel encountered and changed by a poem.
The sound of the words is the first primitive pleasure in poetry.
Poets speak of the shock, the swoon, and the bliss of writing, but why not also speak of the shock, the swoon, the bliss of reading?
Looking forward to our discussion of Mary Oliver on the 28th!
Thursday, March 11, 2010
When we try to pick out anything by itself, we find it hitched to everything else in the Universe. –John Muir
The U.S. Fish and Wildlife Service works to safeguard ecosystems in over 150 million acres of land and sea—a huge task. Jay Slack, NCTC Director, says that “The FWS simply can’t accomplish its mission without working with others.” In line with that philosophy, NCTC has partnered with PVAS from its beginning. Slack says that “ PVAS members were important in the process of establishing NCTC--we listened carefully to what they had to say.”
Karene Motivans first got involved with PVAS when her young children attended the PVAS summer camp at Yankauer Nature Preserve and she befriended other campers’ parents. Now they all enter the Race together to show their PVAS spirit. Motivans knows of one group who sponsors the Race each year in loving memory of Mark Benedict, a PVAS member who worked for The Conservation Fund at NCTC’s campus. They choose this way to honor his years of service to conservation.
Motivans says one reason the Race is special is that the rest of the year the trails at NCTC are closed to the general public. Late April is the height of spring in the WV eastern panhandle. “You see native wildflowers like Mayapple, Spring Beauty, Virginia Bluebells (photo right) and Dutchman’s Breeches. Each year the experience is different.”
The Race continues to evolve. To better adapt to the interests of participants, this year PVAS is adding a wider variety of distances and shifting the longer runs from paved surfaces to the trails. Munnis expects the 4.9 and 7.8 mile choices to entice entrants who have mastered the 5K (a little over 3 miles). “It will give them a bit of a stretch but not too much” he says.
Mark Cucuzella and fellow runner Tom Shantz are donating their expertise in logistics and marketing gained in organizing other events like the Freedom’s Run launched last fall. Cucuzella, a physician, is working to build fitness-oriented traditions in what he hopes will become a National Heritage Area, linking historic places like Shepherdstown, Harper’s Ferry, and the Antietam National Battlefield (photo). His aim is to improve the health of the community.
One shouldn’t forget the corporate sponsors of the race—their generosity is indispensable. “The businesses in the local community have been so good to us,” says Alexander. “Without their commitment and support, PVAS programs would not be possible.” Stan Corwin-Roach and brothers Steve Roach and Scott Roach own R.M. Roach and Sons in Martinsburg. The family business was founded in 1952 by their grandfather. “We have sponsored the PVAS race from it’s start,” says Corwin-Roach. “We are happy to do so because PVAS has done so much for this area--and they always make the most of the resources they have.”
Corwin-Roach remembers joining early PVAS members like birding experts Bob Dean and Jean Sheely in the re-introduction of ospreys more than twenty years ago. But he admits he has retired his running shoes. “One year I ran This Race is for the Birds side by side with a nine-year-old kid,” he laughs. “He pulled ahead and beat me at the end!”
IN A NUTSHELL:
Event: This Race is for the Birds!
Where: Trails of the National Conservation Training Center
Date: April 24, 2010
Times: 9am for 2 mile, 4.9 mile and 7.8 mile runs.
Kids run begins when runners return (10ish).
“Day of” Registration: 7:30-8:45am April 24 ($2 added to fee)
Distances and Prices:
1 mile kids fun run: FREE (self-timed)
2 mile jog/stroll: $15 (self-timed)
4.9 mile Race: $20
7.8 mile Race: $25